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Arminq Robert Heinlein's STARSHIP TROOPERS 


You & Yasmine Bleeth 
r vs. the evil Walter 



•1 && 1 





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you ve 
on a strange 
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It's Alien Odyssey — the PC CD-ROM 
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Battling Screamers, Peter 
weller returns to SF territory 


Paul verhoeven drafts Robert 
Heinlein's Starship Troopers 


Desmond Llewelyn is still out- 
fitting British superspies 


Enjoy SF action with your 
sugar-coated breakfast foods 


He's becoming accustomed 
to the absence of Chekov 


On many levels, this CD-ROM 
game provides new action 


Michael Hurst offers heroic 
relief to a popular myth 

Pour on the 
milk (but don't 
add any 
sugar), as 
cereal heroes 
take center 
stage (see 
page 40). 



To one Nutty Professor, Stella 
Stevens was perfectly female 


John Crawford has always 
been an actor of character 


Courageously, Lanei Chapman 
flies Above and Beyond 


As always, Roy Thinnes seeks 
The invaders among us 









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STARLOG- The Science Fiction Universe is published monthly by STARLOG GROUP, INC., 475 Park Avenue South, New York, NY 10016. STARLOG and The Science Fiction 
universe are registered trademarks of Starlog Group, Inc. (ISSN 0191-4626) (Canadian GST number: R-124704826) This is issue Number 223, February 1996. content is 
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FEBRUARY 1996 #223 

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ad Max revs onto TV screens this fall as 
a syndicated one-hour SF adventure 
series. George Miller, who created the saga, 
will serve as executive producer (on behalf of 
his Kennedy Miller Productions) along with 
Doug Mitchell. Miller will also direct 
episodes of the Warner Bros. -distributed 
Mad Max: The Road Warrior. 

Naturally, there's no one cast yet — not 
even Emil Minty as the Feral Kid. 

It is highly unlikely that Mel Gibson will 
be involved. Lensing is expected to take 
place in Australia, where Miller previously 
shot the film trilogy. 

Updates: Robert Zemeckis, meanwhile, 
replaces Miller as director of Contact, the 
Carl Sagan SF novel adaptation starring 
Jodie Foster. 

Genre TV: Deadly Games soon may be 
advancing to the next level in the vast waste- 
land, TV Heaven. The series, with shaky rat- 
ings, faces imminent termination. Also on the 
edge at presstime: seaQuest 2032 and 
Strange Luck. 

However, Fox has renewed Space: Above 
& Beyond for the rest of the season. And CBS 
greenlighted further cases of American Goth- 
ic (in a new time slot). 

TBS has picked up rerun rights to Lois & 
Clark, while sister network TNT acquired 
reruns of Babylon 5 (to possibly begin airing 
in 1998). 

Keller Siegel Entertainment has an- 
nounced plans for a new, live-action TV 
series devoted to Edgar Rice Burroughs' 
classic apeman: Tarzan, the Fantastic Adven- 
tures. This third TV show is intended to faith- 
fully adhere to Burroughs' often- 
ignored-by-filmmakers original novels (com- 
plete with visits to Pellucidar. Opar and other 
lost worlds). If all goes according to plan, the 
series would debut with a two-hour TV 
movie to be followed by 20 hour episodes. 
Filming is planned to take place at Disney- 
world's Disney-MGM Studios facility. This 
Tarzan project is not to be confused with 
another live-action Tarzan movie (possibly to 
be directed by George Pan Cosmatos) or with 
Disney's own animated Tarzan feature now 
in production. 

Fantasy Films: Aliens get the nightmare 
treatment (they're being experimented on) 
but a human action hero might save them in 
Rubicon, an original screenplay by Eric 
Smill acquired by Hollywood Pictures. Jeff 
Gordon and Debra Hill will produce. 

Buena Vista Visual FX will be creating 
the visuals for The Phantom while Digital 
Domain devises the FX for Luc Besson's The 
Fifth Element (to begin lensing shortly). 

Genre People: Paul Anderson — who 
directed Mortal Kombat and is planning the 
film version of The Stars. My Destination — 
has landed another SF gig. He'll make Sol- 
dier, scripted by David Webb Peoples (of 
Blade Runner, Unforgiven and 12 Monkeys 
fame). It's not a version of the Harlan Ellison 


■ < 

Lois & Clark continue smooching on ABC, 
but they'll eventually end up repeating 
their romance on TBS. 

Outer Limits tale, but focuses on a soldier 
protecting colonists on another planet. Pro- 
duction may begin later this spring. 

Gale Anne Hurd has two more SF pro- 
jects in the works. She's developing an origi- 
nal screenplay by Doug Wallace for 
Paramount Pictures, Gargoyles (no relation 
to the Disney animated series). It's about the 
usual odd couple (scientist, lady archeolo- 
gist) tracking gargoyles that live in Manhat- 
tan. Hurd's other project is Virus, based on 
the Dark Horse comic as adapted by Richard 
Jefferies. Special FX ace John Bruno will 
make his directorial debut on that one. 

Special FX wizard Ren Ralston will 
direct the movie version of James Gurney's 

' Speaking of dinosaurs, Steven Spielberg 
has signed and will definitely direct the fol- 
low-up to Jurassic Park, The Lost World. 
Screenwriter David Koepp will once again 
script, this time adapting Michael Crichton's 
bestselling sequel novel of the same name. 
Kathleen Kennedy and Spielberg will serve 
as executive producers with Gerald Molen 
and Colin Wilson producing. Production is 
targeted to begin this fall for a summer 1997 

— David McDonnell 


All dates are extremely subject to 
change. Movies deemed especially 
tentative are denoted by asterisks. 

January: Screamers, Lawnmower Man 2. 

February: Mary Reilly. 

April: Loch Ness, Mystery Science The- 
ater 3000: The Movie. 

Spring: The Muppet Treasure Island, 
Biodome, The Nutty Professor, Barb Wire. 

May: The Phantom. 

June: The Hunchback of Notre Dame, 
Dragonheart, Mission Impossible. 

July: Independence Day. 

STARLOG/ February 1996 





Ith exclusive 
Interviews, both 

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designers and 

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Trademarks of Paramount Pictures. 

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Inside "Heroe 
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Marc Singer dons the loincloth yet again 
for the third installment of the Beast- 
master series. The Eye ofBraxus. In the first 
„ film, Dar of the Emorites and his animal pals 

to ' r 

I fought the evil priest who had slain his 
I father; in its sequel Dar is catapulted forward 
S in time to present-day Los Angeles, where he 
g pursued his villainous brother. And. this 
3 time, back on his own turf, Singer must pre- 
^ vent the ruthless sorcerer Lord Agon (David 
S Warner) from obtaining a jeweled "eye" that 
Z will bring the demon-god Braxus back to life, 
j? Along the way, Dar is aided by the charms 
S and wiles of a warrior temptress, Sandra 
?. Hess, and a voluptuous witch, Lesley-Anne 
o Down. Also back are Dar"s pets, Kodo and 
a Podo, a pair of scene-stealing ferrets. The 
VHS videocassette from MCA/Universal 
Home Video is steeply priced for rental, but 
the laserdisc edition is on S34.98 in CLV. 

The father and son duo of Lloyd and Beau 
Bridges star in the new Showtime/syndicated 
Outer Limits. "Sandkings," the premiere 
episode, is priced only for rental at this time. 
Melinda Snodgrass adapted the George R. R. 
Martin novella. Working on a top secret pro- 
ject, Dr. Simon Kress (Beau) is overseeing 
the analyses of Martian soil samples when 
he discovers tiny alien eggs. But when the 
operation is shut down, Simon takes his work 
home and hatches the eggs in a barn behind 

Christopher Lambert supervises the 
video magic of Mortal Kombat. 

his house. At first, the alien creatures seem 
harmless, but soon they are worshipping 
Simon as their god and threatening to destroy 
everything he knows. 

Mortal Kombat: The Movie arrives just 
after Christmas, starring Christopher Lam- 
bert and is packed with enough kicks and 
leaps to match any video game. The live- 
action film is priced for rental, but there is 
also Mortal Kombat: The Animated Video. 
which features lots of high-powered 3-D 
computer animation and special FX to keep 
up the pace. 

Since their first arrival on the Fox Kids 
Network in September 1993, the Mighty 
Morphin Power Rangers has proven to be a 
billion-dollar franchise. The movie has been 
sell-through priced to move at S22.98 in VHS 
from 20th Century Fox Home Entertainment. 

Universal has just released the third ani- 
mated feature in the Land Before Time series, 
which recounts the adventures of a young 
dinosaur, Littlefoot. and his prehistoric pals. 
Land Before Time HI is priced at $19.98 in 
VHS with the promise of another sequel to 
come from Universal Cartoon Studios. The 
laser edition is priced at S24.98 in CLV. 

George Pal's torn thumb won an Oscar for 
its magical special FX in 1959. Starring Russ 
Tamblyn as the tiny lad. the cast is ably filled 
out with Alan Young and Peter Sellers. A new 
VHS version is priced at $14.95 from 
MGM/UA Home Video. 

— David Hutchison 




An Authentic Reproduction 

Yoda, the beloved character from the STAR WARS trilogy, is now available in 
an authentic reproduction. Sculpted from original reference in the archives of 
Lucasfilm, each figure required approximately one week to create. 

Yoda is 26" tall. His staff is real wood and his kimono is 100% wool, specially 
aged by hand. Hair is authentic goat hair. Head, hands and feet are rubber latex 
filled with foam latex. Just as in the original, Yoda's left ear is slightly bent and 
his fingernails and toenails replicate stains of his environment. All painting 
done by hand. 

Each figure rests on a black wooden stand and is part of a numbered Limited 
Edition of only 9,500. Comes with a Certificate of Authenticity, giving its hand- 
written number in the Edition, signed by Howard Roffman, Vice President of 
Lucasfilm Licensing, and Mario Chiodo, artist/President of Illusive Originals. 
Number is also engraved on a 1 " x 4" brass plate mounted on the figure's base 
and hand-written on its wrist. 

Send cash, check or money order to: 
STARLOG Group, Inc. 
475 Park Avenue South 
New York, NY 10016 

YODA — $400 

An Authentic Reproduction 

Please indicate quantity 
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rf™* prints are created for you exclusively by Zanart Entertainment. The ChromArt 
acludes key art from five new Star Wars CD-ROM game covers, as well as three 
n the video box covers of the Star Wars Trilogy. Each ChromArt print is 
i wiih the latest technology utilizing acrylic, foiling and etching to give the illu- 
iepth on a two-dimensional surface. Measuring approximately 8"xl0". each print 
atted to H"xl4". with a Certificate of Authenticity. Matted ChromArt prints are 
iable framed in a high-quality "Silver" frame for an additional eight dollars. 
• licensed bv Lucasfilm Ltd., Zanart Entertainment is an Authorized User. 



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Cas up the car and pack a lunch, gang, 
'cause we're settin' out on a road trip to 
new and mysterious lands! Some of the 
hottest games out there are based around 
dropping you head-first into a strange, threat- 

that stood in its place more than a thousand 
years in the past. Seems that before a great 
disaster wiped out Rohin, the town was rich 
from ore pulled to the surface through a 
labyrinth of tunnels and mine shafts excavat- 
ed by elves. The gold, platinum and other 
precious metals are still there, waiting for 
someone to come along and dig them up. But 
there is, of course, a small problem (you were 
waiting for that, weren't you?): Legends 

speak of how Rohin was destroyed by crea- 

Aztlan Adventure: If a little game play of 
the slightly less computer age is more your 
cup of tea. FAS A Corporation's Aztlan ($18), 
the latest sourcebook for the company's Shad- 
owrun system, may just be the ticket. Taking 
city-building up a notch, you're thrust into the 
year 2056 and deposited in the world's only 
corporate nation — south of the border Aztlan. 
While there may be more wretched hives of 
scum and villainy, the designers at FASA 
show why they're among the forefront of role- 
playing games with this 80-page, state of the 
rt sourcebook. Wanna be a drug trader? A 
fwielder of forbidden magic? Dodge the 
uthorities in a cat-and-mouse game to learn 
he truth behind the lies and "black" informa- 
ion spread as the truth by the country's less- 
:han-honest inhabitants? You can be all that 
iand more, for the rampant paranoia that 


The Depths Of Dejenol 


ening city, pitting your skill and ingenuity 
against the city itself. Now, while just about 
all games are set in a town or city of some 
kind, they're usually treated as just part of the 
background. But as CD-ROM games for PCs 
and systems such as the Sega CD and Saturn 
and the Sony Playstation continue to struggle 
to one-up one another, there's one city that 
has taken on a life of its own, and the city is 
not always on your side. 

Case in point: Mordor: The Depths of 
Dejenol, a new CD-ROM adventure from the 
folks at TDA. It's important — actually, more 
like crucial — for you to learn the history of 
the city of Mordor, and of Rohin. the village 


tures from deep below the world's surface, 
demons and hell-bom beasts set free by the 
mining of the land. And while the treasure still 
exists below the surface, so do the monsters. 

A Windows 95 compatible game, TDA 
has gone out of its way to immerse you in a 
real city experience with Mordor. To call the 
documentation extensive would be some- 
thing of an understatement; with detailed 
screen captures that summarize each step of 
the game and flow charts that map the power 
levels of each race from human to troll, 
you're sure to master the basics of Mordor in 
no time. Where you go from there, however, 
is up to you. 

infects every level of the Shadowrun world is 
here in spades, and the only sure thing in Azt- 
lan is that nothing is a sure thing. 

Knowledge of the Shadowrun system will 
purely speed your comprehension of this 
game's finer points (actually, it's a must), but 
Hie module's easy to navigate computer 
design motif makes understanding this 
sourcebook's scenario a snap (something 
that's become more of a lost art form in recent 
years). Its historical grounding in Aztec and 
Mexican culture adds the kind of atmosphere 
that will have you convinced you're right 
there smack in the thick of things. And hey. 
the art in this book deserves a special nod — 
not only are the painted plates striking, but the 
black and white line art is equally well done. 
So. if life in your hometown's a lot of the 
same old same old, take heart, take your pass- 
port and take those traveler's checks, 'cause 
the folks in these far-off realms won't take 
American Express. Bon Voyage! 

— Michael McAvennie 

10 SKARLOG/February 7996 

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Not since the early 1960s has American 
television seen such a renaissance in the 
import of Japanese-produced television, par- 
ticularly animation. Certainly, The Mighty 
Morphin Power Rangers and V.R. Troopers 
have both ransacked the stock footage 
libraries of their Nipponese originals to the 
point that most new episodes contain more 
extensive original sequences. Anime, 
though, has fared somewhat better thanks in 
part to the burgeoning video market and air- 
ings on the Sci-Fi Channel. "Americanized" 
versions still continue to crop up from time 
to time, especially in TV syndication, but 
fans are being exposed to the original ver- 
sions now more than ever. , 

This interest has not been lost on U.S. 
record companies either, as 
albums of popular anime 
scores are becoming easier 
to find in local stores. JVC 
Musical Industries has 
been particularly diligent. 
One of their first releases 
was the soundtrack to the 
cult classic Akira (JMI- 
1001), as performed by the 
Geinoh Yamashirogumi. 
Previously available only 
as an import, this brilliant 
score composed by 
Yamashiro Shoji broke 
with the practice of scoring 
Japanese films in much the 
same manner as Holly- 
wood does. Shoji turned 
instead to find inspiration 
from classical Japanese 
music and instrumentation. 
It is this approach, alien to 
most western ears, that 
helped make Akira so unique. 

Another recent release from JVC is 
Robot Carnival (JMI-1002), which the Sci- 
Fi Channel used as filler on their last anime 
marathon because it was an anthology of 
short stories. Two composers. Jo Hisaishi 
and Isaku Fujita, created this inventive syn- 
thesizer score (almost 70 minutes long) to 
add substance to eight very different tales 
with very varied styles and locales. From 
ancient Japan with a battle between steam- 
powered titans to modern times, this album 
covers a great deal of musical ground. The 
soundtracks from Macross II (Volume 1: 
JVC-1003) and Macross Plus (JVC-1004). 
were featured in a previous Audiolog. A sec- 
ond volume of music from Macross Plus is 
expected in stores from JVC shortly. 

Central Park Media, one of the biggest 
distributors of anime, has started their own 
label. MangaMusic. One of their first releas- 
es is Joey Carbone and Richie Zito's score 
for the American version of Project A-ko 
(USM-1138). George Doering, who per- 
formed on Dennis McCarthy's Deep Space 

Nine single (GNP Crescendo GNPD 1401), 
engineered this release and plays guitar on it. 

If you're looking for more. Super Collec- 
tor (1-800-99-SCI-FI) has become one of the 
largest importers of anime soundtracks. On a 
recent visit to their store, a large stock of 
titles were on hand including Lotus Wars, 
Tenchi Muyo, Rama 112, Oh, My Goddess, 
Vampire Hunter D, Gundam, Kiki's Delivery- 
Service, and Porko Russo (The Crimson 
Pig!). They also stock other Macross titles, 
the classic soundtracks to the Gatchaman 
series (which hit this shore as Battle of the 
Planets and G Force), and Space Cruiser 
Yamato (a.k.a. Star Blazers). Also available 
are the score albums to the Japanese theatri- 
cal versions of The X-Men and Street Fight- 
er. They're very helpful on the phone and 
you can order their new audio and video cat- 
alog for $2 by writing to 16547 Brookhurst 
Street, Fountain Valley, CA 92708. 

Monster Music Invasion: Meanwhile, 
on the east coast, Footlight Records (1-212- 


At last fans can 
a release of his 

hear When Worlds Collide. Leith Stevens' score is included on 
The War of the Worlds work. 

533-1572) has cornered the market on 
Japan's movie monsters. That flying, fire 
breathing turtle is back in the theaters, 
accompanied by an orchestral score for the 
new movie Gamera: Guardian of the Uni- 
verse (Tokuma TKCA-70596). The sound- 
track for his first feature in 25 years contains 
a colorfully-illustrated 12-page booklet. 
None of the themes from the original film 
series made it into this score, however. Foot- 
light does have in stock the early scores on 
two three-CD sets, Gamera, the Early Years 
(King 236-8) and Music from Gamera (Film 
Music), and the single disc titles The History 
of Gamera (Apollon). The Legend of Gam- 
era volume 2 and volume 3 (Tokuma). 

Lest we forget the ever popular Godzilla, 
the latest imports include the highly recom- 
mended 40th anniversary live recording of 
the Godzilla Symphonic Concert (SLCS- 
5029). Masaru Satoh. responsible for several 
scores in the series, conducted almost an 
hour of Akira Ifukube's classic themes. 
Ifukube scored the original 1954 production 
of Godzilla and was most recently called 

back to score the new matches between 
Mothra, King Ghidorah and Mecha-Godzil- 
Ia. Several of the individual scores in the 
Futureland 20- Volume series previously 
noted here are still available, but if you're 
frugal, Footlight suggests the two-volume 
GodzillalToho Monster Marches from 
Futureland, with the themes from their fan- 
tasy films. 

Other titles of note include several CD 
volumes of music from Ultraman (Ace, 
Taw, Seven and Q series), Patlabor and the 
collected works of composers Satoh and 
Ifukube. They also have in stock other 
Japanese scores (including anime) and other 
soundtracks from around the world. A cata- 
log is also available for $2 by writing their 
store at 113 East 12th Street, New York, NY 

New Releases: Varese Sarabande has a 
full plate of SF/fantasy-related scores on 
their schedule. Out now is Babe (VSD- 
5661), which contains a wealth of dialogue 
from the charming tale 
of talking animals, the 
songs of the singing 
mice and Nigel West- 
lake's score. Another 
kid fantasy, Magic in 
the Water (VSD-5659) 
features music by 
Richard Schwartz. 
Mark Isham, who did 
TimeCop (VSD- 

5532), has written the 
score for Sandra Bul- 
lock's cyberspace 
adventure, The Net 

Coming over the 
next few months will 
be domestic versions 
of William Shatner's 
The Transformed Man 
and Leonard Nimoy's 
Mr. Spock's Music 
from Outer Space 
(which will include the orchestral music not 
on the English import), Graeme Revell's 
score to Mighty Morphin Power Rangers: 
The Movie (see, we told you so!) and Jerry- 
Goldsmith's music for the Judge Dredd trail- 
er, which will be included in the Seattle 
Symphony Orchestra's Hollywood '95 com- 
pilation, conducted by Joel McNeely. 

Intrada is releasing Dennis McCarthy's 
score to The Utilizer (MAF 7067). the Sci-Fi 
Channel Planetary Premiere movie based on 
author Robert Sheckley's "Something for 
Nothing." A mysterious machine enters a 
man's life, granting his every wish, but for a 
terrible price. As he succumbs to its influ- 
ence. McCarthy utilized a solo trumpet with- 
in his orchestra to underscore the man's 
descent into hell. This is McCarthy's first 
non-5?ar Trek soundtrack album. Also out at 
the same time will be the second volume in 
Intrada's Miklos Rozsa Film Music for 
Piano series (MAF 7064) as performed by 
the renowned Daniel Robbins. 

Robert Folk's score for the animated Ara- 
bian Knight (Milan 35730) is a mixed bag of 

12 S7ARL0GI Februarx 1996 

orchestral (the opening title is similar to his 

ork cm The NeverEnding Story II) and pop, 

th four songs by lyricist Norman (Wonder 

wian) Gimbal. Lots of percussion tracks 

are featured on the song compilation for 

il Kombat (TVT Records TVT 6110). 

nly about eight minutes of George S. Clin- 

s score was included with The Immortals 
music for the trailer. 

•1 Goldsmith's pop and synthesized 

of his father's Emmy Award- Win- 

tar Trek: Voyager Main Theme has 

1 released on GNP Crescendo (GNPD 

4G5) along with an extended version of the 

original orchestral theme. 

Silva America Records has recorded and 
released, for the first time, the score from 
iarryhausen's 1968 fantasy Western on 
alley of Gwangi: The Classic Film 
Music of Jerome Moross (SSD 1049). 
Almost 19 minutes of the score has been re- 
recorded by Paul Bateman and the City of 
Prague Philharmonic in its original form. 
Much of Moross' wonderful music 
was badly re-edited and misplaced 
in the final film. Also included are 
selections from the composer's 
work for The Adventures of Huck- 
leberry Finn and The War Lord. 
The 1988 rerecording of his 
revered score to The Big Country 
has been repackaged and reissued 
by Silva (SSD 1048). A suite of 
other classic Harryhausen fantasy 
film themes is the finale for Torn 
Curtain: The Classic Film Music of 
Bernard Herrmann (SSD 1051), 
which also includes The Ghost and 
Mrs. Muir. Bateman and the 
Prague Philharmonic are the 

The expanded edition of edel 
Company's Terminator: The Defin- 
itive Edition (0029022 EDL) has 
been distributed domestically by 
Koch International with a newly 
reprinted booklet containing none 
of the typographical errors that riddled this 
columnist's notes in the so-called "Definite 
Edition'' released last year. Portions of my 
interview with the composer for Soundtrack! 
magazine were quoted in the liner notes for 
The Film Music of Ken Wannberg. Volume 3 
i Prometheus Records PCD 137), a compila- 
tion of three scores that included the music 
to Peter (RoboCop) Weller's monster rat 
movie Of Unknown Origin. Soundtrack!, a 
quarterly English language magazine out of 
Belgium, can be ordered from Super Collec- 
tor and Footlight. 

Imports: Germany's Tsunami Records 
recently included Leith Stevens' score to 
When Worlds Collide on a soundtrack album 
of his music to The War of the Worlds (TCI 
0612). This marks the first time that both 
scores have been made available. Three 
recent Jerry Goldsmith titles include the 
music lo Freud (T$>\J Q\29), notable because 
of its use in ALIEN, Classical Goldsmith 
(TCI 0615). which features the Cantata 
•"Christus Apollo" with text by Ray Brad- 
bun' and narration by Charlton Heston; and 

his early scores for The Stripper and The 
Traveling Executioner on one CD (TCI 

New & Noteworthy: The Beau Hunks 
have once again created an uncanny rere- 
cording of classic Hal Roach Studio music 
by LeRoy Shield, whose only failing is that 
it sounds too good! On to the Show! (Koch 
KOC 8705) features music discovered after 
the release of their last album, The Beau 
Hunks Play The Little Rascals Music (KOC 
8702). when the studio's assets were trans- 
ferred to a Los Angeles library. 

DRG Records has compiled more classic 
Italian soundtracks, previously only avail- 
able as imports. An Ennio MorriconelDario 
Argento Trilogy (32911) features the music 
from three horror films, The Bird with the 
Crystal Plumage, The Cat O' Nine Tails and 
Four Flies on Grey Velvet. The history of 
their partnership is detailed in the liner notes 
by film music expert Didier C. Deutsch, 
which also includes the translation of Araen- 

Amazingly, negotiations have delayed the debut of Varese 
Sarabande's Amazing Stories music collection. 

to's six-minute interview that wraps up the 
disc. No less than 40 films, a mere drop in 
the bucket, are represented on the two-disc 
set An Ennio Morricone Anthology (32908). 
Doubtless the most prolific film composer 
ever, this album has a wide mix of themes 
from horror to Westerns to comedies. 

For the flavor of other worlds, look no 
further than Instinct Ambient Records' lat- 
est, Ambient Intermix ($8.95), a two-disc 
compilation of music from their catalog, 
remixed by by other artists. This stuff is per- 
fect for creating eerie atmosphere in amateur 
or professional films. 

Many video and CD-ROM games are 
getting their own soundtrack albums. Sierra 
On-Line has one such CD of music to seven 
of their games on the Sierra Soundtrack Col- 
lection (058654900). Titles include King's 
Quest V and VI, Conquests of the Longbow 
and Camelot, and Quest for Glory I. 

Bargains: Intrada Records has deleted 
19 titles from their catalog by such com- 
posers as Richard Band, Robert Folk. Jerry 
Goldsmith. John Scott, Christopher Young 

and others. Each CD is selling for $3.99 plus 
shipping, while supplies last. You can get an 
Intrada catalog by calling 1-415-776-1333 
or writing 1488 Vallejo Street, San Francis- 
co, CA 94109. 

New AudioBooks: The most recent 
additions to Naxos' modestly priced collec- 
tion of classic literature on CD and cassette 
includes a reading by frequent Dr. Who actor 
Philip Madoc on Sir Richard Burton's The 
Arabian Nights (three CDs), Harry Burton 
recounts the tale of Jules Verne's Around the 
World in Eighty Days (two CDs), Rudyard 
Kipling's The Jungle Books (three CDs) is 
read by Madhav Sharma, Herman Melville's 
Moby Dick (four CDs) by Bill Bailey, and 
Anton Lesser reads Homer's Odyssey (three 

Promotionals: Latest rarities from the 
self promotion market include Hummie 
Mann: Music for Film, a marvelous compi- 
lation of themes by the composer of Robin 
Hood: Men in Tights. Selections include his 
work from the Showtime series 
Rebel Highway and Picture Win- 
dows. Mann was also the arranger 
for Jerry Goldsmith on the Star 
Trek: Voyager main title. The score 
for Stephen King's IT is represented 
in a 16-minute suite on Richard 
Bellis: Film Music Volume 1. A 
dead ringer for Jonathan Frakes, 
Bellis divides his time between film 
scoring and his duties as president 
to the Society of Composers & 

Craig Safan is alive and well and 
scoring motion pictures. The popu- 
lar composer of The Last Staifight- 
er (scheduled for rerelease soon) 
has been doing mostly television 
since, particularly every episode of 
Cheers. His recent stint scoring the 
comedy Major Payne didn't yield a 
commercial CD release, so Safan 
produced his own (Miles End MED 
3001). It's a fun-filled orchestral 
score in the flavor of Stripes. 

George Dunning, who composed music 
for the original Star Trek series episodes 
"The Empath" and "Is There In Truth No 
Beauty," produced a promo album of his 
classic score to the 1957 Glenn Ford West- 
em 3:10 to Yuma. Historians will note that a 
young Johnny Williams conducted a portion 
of this score. 

Forthcoming: Expect an album of Mark 
Snow's score to follow about six weeks after 
the one with songs "inspired by, or that have 
inspired" The X-Files, from Warner Brothers 
Records. Super Tracks Music, a division of 
Super Collector, will be releasing the sound- 
track to Night of the Running Man by Baby- 
lon 5 composer Christopher Franke shortly. 
An album of music by John (Elephant Man) 
Morris from The Scarlet Letter will follow. 
Varese Sarabande's planned release of music 
from Amazing Stories has been delayed due 
to complex negotiations. 

Got Questions: You can e-mail your 
posers to 

— David Hirsch 

STARLOGl February 1996 13 

The Final Battle by William C. Dietz (Ace, 
paperback, 388 pp, $5.99) 

This sequel to Legion of the Damned 
finds William Dietz's Legion of humans, 
aliens and cyborgs gearing for interstellar 
war against the Hudathan Empire. This time, 
however, the stakes have been raised as the 
Hudathans have developed cyborg soldiers 
of their own. Not only that, but the 
Hudathans are also taking advantage of 
political treachery within the Confederacy of 
Sentient Beings, hoping to split the support 
that Earth enjoys with its neighboring 

Dietz isn't interested in literary trickery 
here. Instead he delivers an honest, straight- 
forward story in the vein of writers such as 
David Drake, Tom Clancy and Larry Bond, 
carefully moving the perspective from one 
side of the war to the other. As with the ear- 
lier book, The Final Battle carries the stamp 
of genuine research and effort, and Dietz 
generously equips as much of the story as 
possible with convincing backgrounds. This 
is space opera — war story stuff from the old 
school — but the over-the-top hyperbole of 
those long-ago tales has been replaced by 
the calm brush strokes of a competent writer. 
—Michael Wolff 

Quasar by Jamil Nasir (Bantam/Spectra, 
paperback, 224 pp, $5.99) 

Despite some good writing, this first 
novel takes too many missteps to succeed. 
Virtually from page one, hero Theodore Kar- 
made, a psychological technician, is bullied, 
humiliated and tortured by the near-omnipo- 
tent villains. Jamil Nasir wants readers to 
believe these travails make Theodore 
stronger, but the book gives little evidence of 
this. Likewise, the heroine, trillionaire 
"celebrity goddess" Quasar Zant. spends her 
time in seizures, comas and personality 
shifts. It's hard to identify with either of 
them, and the plot doesn't help: the major 
"surprise" is telegraphed early on, the 
cyberpunk veneer hides ancient cliches and 
the climax is pure deus ex machina. 

Still, there are good touches. The psycho- 
logical and biochemical details are convinc- 
ing and well integrated into the story. The 
psychobabble dialogue of the villainous 
Ziller is chilling and funny, and the main vil- 
lain — Quasar's aunt, Nelda Cloud — is truly 
horrible. While chaotic, the ending is power- 
ful, and some moments, like Theodore's 
meeting with the mutant girl on "her" day, 
are genuinely touching. 

— Scott W. Schumack 

Zod Wallop by William Browning Spencer 
(St. Martin's Press, hardcover, 288 pp, 


The old theme of fantasy versus reality 
gains new twists and poignancy in Zod Wal- 
lop. Author Harry Gainsborough, who has 
fallen into self-pity after his daughter's 
death, finds his hermit's life invaded by 

eccentrics who think his last book, the dark 
fairy tale Zod Wallop, is literally true, and 
that they are the heroes destined to defeat 
Evil. Harry and his demented fans were, 
patients in the same mental hospital, where 
they might have been exposed to a danger- 
ous drug, but if Zod Wallop is fantasy, how 
can monsters from the book be flying 
around? And what about the first version of 
Zod Wallop, supposedly destroyed by lov- 
able maniac Raymond Story, with an unhap- 
py ending, pictures that seem to change and 
the power to alter the minds of its readers'? 

Zod Wallop has glimpses of pain and evil 
that give the book impact beyond its comic 
surface. Funny, exciting and sad, Zod Wallop 
should delight readers wise enough to know- 
that one moment of despair can be worse 
than a dozen dragons. 

— Scott W. Schumack 

8no^»ri»fe $?£**&* 

Hunter's Oath by Michelle West (DAW, 
paperback, 427 pp, $5.50) 

Eight-year-old Stephen joins a thieves' 
den in the King's City, but soon finds that 
life has other plans for him when a Hunter 
Lord from Breodanir chooses him as his 
prey. But once the Lord, Elseth, captures 
Stephen, he offers to take the boy away from 
his life of base survival. 

At 427 pages, Hunter's Oath takes a long 
time to get going, but those patient enough 
to get past the slow -moving first 150 pages 
or so will be rewarded. At first, stretches of 
the book alternate between Stephen's adjust- 
ment to life at the Elseth estate (and his 
headstrong new stepbrother, Gilham), and 
the travails of a time-traveling mage named 
Evayne. What these two have to do with 
each other doesn't become apparent until 
much later. 

West has created a captivating world with 
some Celtic overtones in Breodanir. The 
men folk bond in a ceremony to become 
Hunters and Huntbrothers, providing food 

for their community — and also once a year 
paarticipate in a hunt where one of their 
number becomes prey for their Hunter God. 
Readers in search of a book with solid 
characterization and neat twists to the 
genre's conventions need look no further 
than Hunter's Oath. 

—John S.Hall 

Wind Whispers, Shadow Shouts by Sharon 
Green (Avonova, paperback, 325 pp, 

Liberating the kingdom from its 
"imposter" monarchs was the easy part for 
its new rulers, Queen Alexia and King Tiran. 
With the obvious enemies out of the way, 
they still have to hunt down the old rulers' 
ex-guardsmen, now turned outlaws, and get 
the remaining nobility to swear fealty — all 
tasks easier said than done. 

Many of the dukes and earls recoil at 
Alexia and Tiran's proposed sweeping 
reforms — such as educating the young com- 
moners — but some back their new sover- 
eigns. And not only do Alexia and Tiran have 
to deal with their fractious nobles, but also 
more powerful and subtle foes who seek to 
oust them by sorcerous means. 

This book's back cover blurb makes 
Alexia sound like a passive damsel, when 
that's not the case at all. Readers are treated 
to a story of rare thought and intelligence 
about two perfectly-matched and very smart 
people who discover there's quite a lot rotten 
in their new kingdom. For every ally they 
make. Alexia and Tiran uncover three ene- 
mies, even within their own palace! 

Equal parts action and intrigue, Wind 
Whispers. Shadow Shouts does a very capa- 
ble job of telling its tale without having to 
raise its voice unduly. 

—John S.Hall 

A Wizard in War by Christopher Stasheff 
(Tor, hardcover, 22*4 pp, $20.95) 

Magnus Gallowglass has followed in his 
father Rod's footsteps. A "wizard" with 
pow erful psychic abilities and technology at 
his command, he travels from former Earth 
colony to colony with his faithful sidekick 
Dirk, paving each planet's way from feudal- 
ism to democracy. 

The adventurers choose to make landfall 
on the planet Maltroit, where combat 
between an arrogant, newly-crowned young 
king and his recalcitrant nobles has caught 
the planet's serfs in a misery of never-ending 
battles. Posing as freelance mercenaries. 
Magnus (under the pseudonym Gar Pike) 
and Dirk meet an exceptional serf-cum-out- 
law named Coll and proceed to sow the 
seeds of grassroots rebellion. 

As is usually the case with Christopher 
Stasheff's works, A Wizard in War features 
solid characters who manage to triumph 
over adverse situations. Maltroit's serfs are 
literally caught between a rock and a hard 
place (abusive nobility and a supremely 
arrogant king who compares them to cattle), 
and such subjects are ripe for rebellion. 

Although relatively short at 224 pages 

14 STARLOGI Februarx 1996 

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for nearly $21, A Wizard in War does not fail 
to engage one's interest. 

—John S.Hall 

Winning Colors by Elizabeth Moon (Baen, 
paperback, 373 pp, $5.99) 

Adapting to civilian life hasn't been easy 
for Captain Herris Serrano. After losing her 
military commission, Herris has command- 
ed the Sweet Delight, pleasure yacht of the 
newly-rejuvenated Lady Cecilia. Thanks to 
pharmaceutical breakthroughs, the old — and 
wealthy and powerful — can enjoy a form of 
immortality. But while Herris takes Cecilia 
to agrarian worlds for equine breeding stock, 
the captain's friends and shipmates are 
uncovering evidence not only of an impend- 
ing invasion but a possible conspiracy 
involving the rejuvenation drugs as well. 
With only a lightly-armed space yacht and 
an agrarian world's paltry defenses at her 
disposal, how can Herris hold off the Benig- 
nity's battle fleet? 

Once again, Elizabeth Moon has crafted 
a fine, rousing piece of space opera which 
should not disappoint her fans. Lady Cecilia 
(the object of rescue in Moon's previous 
novel) makes a welcome addition to the cast 
of well-spoken women who populate 
Moon's works. In spite of too much "horse- 
play" by a nose. Winning Colors is a prize 
worth takina home. 

— John S. Hall 

StarGate: Rebellion by Bill McCay (Roc, 
paperback, 298 pp, $4.99) 

Novelizing films can be problematical 
enough. Writing sequels to films can be an 
even greater headache, as the various Star 
Trek and Star Wars authors could no doubt 
attest. The audience already has a precon- 
ceived notion of what the story should 
involve, not to mention what the licensing 
personnel decide, and so an author some- 
times must bow less to his own visions, and 
more to those of others. 

Bill McCay's story follows the events 
which took place in StarGate. Corporate 
interests are planning to exploit the 
resources of Abydos, and Jack O'Neil is 
picked to lead a return expedition. 

Meanwhile, Ra's death has created a 
power vacuum which his followers attempt 
to fill. A successor rises to the top, and the 
first order of business is a journey to Abydos 
to find out what happened to Ra and. if nec- 
essary, avenge it. The two forces collide, and 
both Daniel Jackson and the people of Naga- 
da are caught in the middle. 

McCay tries, but two problems crop up 
early in the story. His depiction of the human 
corporate leaders falls back too easily on 
stereotype. His version of Hathor and the 
other followers of Ra strips away the com- 
pelling alienness which marked Jaye David- 
son's movie performance. The story picks up 
when Hathor arrives at Abydos, but it's 
admittedly a small lift in an overall effort 
which doesn't improve upon the vision pre- 
sented by the film. 

—Michael Wolff 

A Breach in the Watershed by Douglas 
Niles (Roc, paperback, 435 pp, $13) 

More than 1.000 years ago, the forces of 
Dassadec the Sleepstealer were defeated in a 
mighty battle which nearly destroyed the 
Three Lands. While the humans of Dalethica 
grew and prospered, and the folks of Faerine 
retreated to the borders of their mystical 
realm, the Dark God and his followers bided 
their time. Now, Dassadec's minions have 
begun carrying our their master's wishes: 
polluting the Watershed (which supplies 
Dalethica with its water) with Darkblood, a 
vile substance vital to the god's underlings. 
Although most dismiss 
Dassadec's danger as leg- 
end, he and his Lord Min- 
ions are very real threats 
to the small group of peo- 
ple which stands between 
them and victory. 

Despite being popu- 
lated with staples of the 
fantasy genre, Douglas 
Niles' A Breach in the 
Watershed effortlessly 
captures the sense of 
wonder and awe present 
in all great works of fan- 
tasy. His heroes, ranging 
from a young man and 
his even younger niece, 
to members of the nobili- 
ty, to a frightened fairy, 
rise above their typicality 
and become full-fledged 

The novel re-examines some themes 
from Niles' early novel Darkwalker on 
Moonshae (the pollution of a vital/sacred 
water source as a precursor to war) and pro- 
vides readers with enough soul-searching 
and swashbuckling — plus a "boo-hiss" vil- 
lain — to keep pages turning at a brisk pace. 
" —John S.Hall 

Dreamseeker's Road by Tom Deitz 
(AvoNova, hardcover, 356 pp, $20) 

Tom Deitz probably surprises quite a 
number of people by being as adept at writ- 
ing fantasy as he is at science fiction. There 
are several authors out there with much more 
name recognition who have made similar 
attempts at crossing over and failed. 

In his latest work, Deitz continues the 
adventures of David Sullivan, sometime 
traveler to the lands of Faerie, that he has 
chronicled in The Windmaster' s Bane. Fire- 
shaper's Doom, Darkthunder' s Way and 
Sunshaker's War. Now a college student. 
David and two of his friends experience 
magical visions while on a hunting trip. The 
visions obsess the three men in different 
ways, but the differences will soon mesh and 
all three of them will eventually find them- 
selves traveling along an extremely perilous 
stretch of Faerie road. 

There's nothing wrong with Deitz's char- 
acterizations or sense of mythology. The 
only real problem here is that Dreamseeker's 
Road is obviously part of a larger story. It's a 

lilt AllVtNIUKI » UNliNIIIS 

in [HIS At lii>N I'AimiNovi 


tidbit, serving only to fuel the appetite rather 
than satisfy. Deitz is certainly not alone in 
suffering from sequelitis, but he's very read- 

— Michael Wolff 

Stone of Tears by Terry Goodkind (Tor, 
hardcover, 704 pp, $25.95) 

Stone is the solid, action-packed, enter- 
taining sequel to Terry Goodkind's Wizard's 
First Rule. Here, Richard Cypher and his 
beloved Kahlan are forced to separate; he 
must learn how to control his newly discov- 
ered magical abilities, and she to serve her 
people. It's something 
neither wants, and the 
path to their reunion is a 
difficult and violent one. 
It's to Goodkind's 
credit that he can juggle 
the many well-devel- 
oped characters he 
writes about with such 
affection and the myriad 
plots he has underway. 
Not only will readers 
care about the complex 
Richard and the darling 
Rachel, but they'll care 
about what happens to 

Stone is full of tense, 
funny and moving 
scenes. Readers will 
have a hard time forget- 
i ting the passage where 
^™ Kahlan sends Richard 
away. Readers who haven't read the first 
book will be able to easily follow what is 
going on and what has happened. Goodkind 
effortlessly balances between too much 
information and too little. 

— Penny L. Kenny 

Star Ascendant by Louise Cooper (Tor, 
hardcover. 352 pp, $23.95) 

Volume one of Louise Cooper's new fan- 
tasy series, a prelude to her "Time Master" 
trilogy, takes place mainly in the castle 
where the evil magi rule in the name of 
Chaos, and this inside view of evil is the 
book's best point. 

Benetan, henchman of Chaos, allows his 
childhood sweetheart, Iselia, to be abducted 
and held in the castle for a life of servitude, 
a decision he rues when he learns that she 
has not only married one of his boyhood 
friends, but that they are both heretics, devo- 
tees of Order, and so slated for death by his 
masters. Unfortunately, Benetan is so weak 
and foolish that it's hard to sympathize with 
him, much less understand how he has sur- 
vived the politics and infighting of the castle. 
Iselia and her compatriots seem too good to 
be true, and only towards the book's end are 
the conditions that have spawned these 
rebels shown. 

Star Ascendant is all build-up and does 
not stand on its own; it will be best appreci- 
ated by Cooper's fans. 

— Scott W. Schumack 


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nost two years ago. I wrote about the horren- 

s debut of seaQuest DSV. Since that time. I 

e received countless letters from people around 

ae world supporting the show with explanations of 

r own for all the flaws that I pointed out. One 

inicular letter got on me because I said that 

caQuest should flood all its compartments and 

at the bottom of the ocean floor. This person 

so far as to say that I was promoting pollution 

the world's oceans. Hello? Anyone home? The 

eaOuest is not even real, even if I had the power to 

snk it myself. The show sucked then and watching, 

ae third season premiere. . .nothing has changed. It 

ill sucks. 

For starters, season two had some promise with 
help of new characters Tony Piccolo and Dag- 
played by Michael and Peter DeLuise. I 
like the rough-edged portrayal of Piccolo. 
his salty and macho attitude towards authori- 
ld fellow officers. And having Piccolo bunk 
th Lucas during the season was my answer to 
Sim up. Wesley." Someone needed to keep Lucas 
check. Now. that was a great and smart move. 
because Lucas came off as less a Wesley-esque 
character, and not the focus of so much attention. 
Bringing Dagwood the Dagger aboard was 
th a blessing and a terrible mistake. I loved the 
-mcept of Daggers being genetically created from 
the races and having Dagwood be the early pro- 
totype. So much could have been explored with 
; Frankenstein/gentle giant theme on a serious 
wee. but someone opted for humor instead. Even 
orse was the triangle setting with Lucas. Piccolo 
id Dagwood a Id Star Trek's triangle with Spock. 
McCoy and Kirk. It would have worked, but 
waQuesfs triangle looked and sounded more like 
Hoe. Larry and Curly. So much for comic relief. 
B> now you must be asking yourself. "Why am 
e»en wasting my time watching this crappy 
F When I heard Michael Ironside was going 
: the new captain. I thought. "Who could resist 
" He gives great performances in all his roles. 
ade is always vibrant and dynamic. It's exact- 
tfaa the show needed all along, but this may 
"•::". :ase of too little too late. In the mean- 
he comes off as a real hardass captain and 
■ : -A shake things up radically on the show. 
I could just see him getting really tough with an 
fficer when an order isn't carried out. "Alright. 
Lacas. We are going to do this the scanner way. 
■ going to suck your brain dry." I can't wait for 

for Roy Scheider. Nathan Bridger is one 

teati 1 wish to forget, it was obvious that the 

i ^reen was not Scheider's medium. Howev- 

1 look good in the first half of the second 

with the salt-and-pepper beard. Why he 

off in the second half I'll never know. On 

E,as Bridger gave his farewell speech. 

he talked about how the crew of seaQuest. return- 
ing from the planet Hyperion, were placed back on 
Earth at the last peaceful thought they had in their 
minds before they died. With that, the show should 
not have been called seaQuest 2032 but rather 
seaQuest. . This Show Never Really Happened. 

Montgomery Lopez 

8810 SW 123rd Court 

Apt. M-103 

Miami. FL 33186 


...Since Al Christensen mentioned me in his letter 
(STARLOG #219). I felt I should respond to some 
of his criticisms of Earth 2. Earth 2 had a wonder- 
ful fan support, and still continues to have, despite 
NBC's decision. It is a fine drama with a wonderful 
cast that earned the respect of peers. 

Christensen remarked that Earth 2 didn't have 
support, and used Nielsen ratings as evidence. I 
never missed an episode, yet I have no Nielsen box 
hooked up to my TV. nor does anyone I know. In 
fact. Earth 2 had demographics very similar to The 
X-Files, according to T\' Guide. Also. Earth 2 fin- 
ished neck-and-neck in the Nielsens with NBC's 
Sisters, yet NBC ordered an astonishing 24 
episodes for this season. Of course, these are the 
same Nielsen numbers that led NBC to cancel the 
original Star Trek, which is now a legend. Plus. 
NBC used Nielsen numbers to determine there was 
no market for Baywatch. which is now the most 
watched show in the world. Not that being can- 
celled because of Nielsen numbers couldn't be 


considered a badge of honor for dramas this year, 
with the cancellations of My So-Called Life. Due 
South and Under One Roof lo name a few. Earth 2 
premiered with a ranking of eighth in the Nielsens. 
It continued to do well until the start of 1995. That 
is when NBC decided to play a guessing game as to 
when it would air. Earth 2 was in a very difficult 
and competitive time slot, yet NBC would preempt 
Earth 2. returning it sometimes three weeks later 
with no promotion whatsoever. 

Nielsen numbers are fine and dandy, but it is 
the fans who determine the true reach of a show. In 
that same issue, four other letters were printed 
regarding Earth 2. all expressing disappointment 
over the NBC decision. NBC. Universal. Amblin 
and other networks have been flooded with letters 
from fans regarding the fate of Earth 2. and the 
hope that it would return. Earth 2: Eden Advance. 
P.O. Box 733. Westminster, CA 92684. the main 

Cruise the blue Pacific to Mexico's Riviera coast 
in the company of more than a dozen actors 
and behind the scenes personnel from the 
original Star Trek® through Voyager.® There 
are theme-related cruises and then there is 
Seatrek, the perfect combination of sea-going 
holiday and Trek convention aboard Carnival 
Cruise Ones beautiful ship, the Jubilee. 
SeatTek 97 is the seventh voyage organized 
by Seatrek Enterprises, creators of the original 
Star Trek cruises. We have payment plans, Trek 
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charge card approval, discount airfares, 
Universal Studios package and other travel 
services. Sail with us in 1 997 and join in 
the special events celebrating our 1 Oth 



JUNE 15-22, 1997 

For FREE brochure and more information, send an S.A.S.E. business size envelope to: Seatrek 97, 
8306 Mills Drive, Box 198, Miami, FL 33183 or phone 800-326-8735 or 305-388-2890. 

STARLOG/February 1996 19 

fan club for Earth 2. purchased a large ad in Daily 
Variety which thanked everyone involved with 
Earth 2 for their work. E2:EA found a way to top 
themselves on September 10. 1995. when they 
hired a skyad to fly over the Emmy ceremonies. 
The banner read: "May The Journey Continue... 
Earth 2." This was seen by all the top network 


: AX'T 

executives as they entered the ceremonies. I'm not 
an expert, but I think that demonstrates very strong 
support for Earth 2. 

Most curious to me was Christensen's charge 
that Earth 2 was not real science fiction. There are 
two species of aliens, another planet and virtual 
reality, how much more science fiction do you 
want? No. it's not a bunch of guys buzzing around 
in spaceships firing phasers. but that doesn't signi- 
fy all SF. The show did what good drama and good 
science fiction should do: comment on the human 
condition. Debra Sims, who Christensen also 
referred to in his letter, has compared Earth 2 
favorably to Star Trek. I find that comparison very 
interesting and insightful. 

1966 1996 


James Doohan - Uiaitar Hoenlg - nictielie nichois - 6eorgB Tahei 

scony CHEKOU UHURH sulu 

-and a very special guest appearance 
Together Fdp Their 

30th Anniversary 

"Be A Part Of The Reunion" 

march 30th and 31st, 1996 

Collectibles Show and Convention 

Costume Contests - Raffias - Apographs - Auction 

morning - Afternoon - Evening Shows /IvailablB 
Tichets: 550.00 one shorn either day 
$53.00 tiuo shows S/VJt S5.00! 


tlorujich, Connecticut 

Advance Tichst Sales and Uendlng Information 

By Calling (203) 437-1884 

no affiliation with cs Enterprise /Productions 

In most science fiction, you have two views of 
the future: apocalyptic or Utopian. Earth 2 split the 
difference. The colonists were fleeing a dying 
Earth for a new world where they could begin 
again. They tried to show the genesis of this new 
Utopia. Christensen made the point that Earth 2 
could have been set in the Old West with a few 
changes. I don't deny this, but if you removed the 
fantastic elements from The X-Files, would it be 
just another cop show? Earth 2 didn't run from the 
Old West comparison but embraced it. and in fact 
referred to the settling of the "Ancient American 
West" on several occasions. This showed some 
growth in humanity, since in the Old West the fron- 
tier was plundered and Indians were slaughtered. 
On Earth 2. the colonists tried to respect nature and 
learn from the natives. 

The proposition of Earth 2 was people from a 
hi-tech society faced with hardship and how they 
used their personal strengths to survive and grow. 
The creators of Earth 2 did a good job of creating 
real characters, and not standard cardboard cutout 
heroes. The characters all had real flaws which 
they struggled to overcome, some succeeded and 
some failed. The producers should be congratulat- 
ed on making an entertaining and thought-provok- 
ing drama. They developed a very unique program, 
one that deserves all the praise it receives. 

Joseph B. Williford 

Address Withheld 

... I have been a fan of Earth 2 since the beginning. 
It was wonderful that STARLOG did so many arti- 
cles on the series. At times. STARLOG seemed to 
support E2 even more than NBC! Fans of Earth 2 
(Earthies) continue the quest to save Earth 2, 
myself among them. Already, there are two dates 
slated as national Earth 2 days: November 5 and 
10. where fans turn off NBC and write letters, send 
faxes, etc. just to get NBC's attention. 

So. hopefully" the message will get out to more 
people. Earth 2 was a wonderful show and 
deserves a fair chanced It was easy to grasp and 
brought a fresh idea to a not-so-well-known genre. 
Even if you saw just one of the episodes, you did 
not walk away saying the show was stupid or had 
no point, as many shows do. This series was not 
just about a group of strangers trying to make it on 
a strange planet, but about survival, love and 
friendship, subjects everyone can relate to. 

All Earth 2 needs is a real chance to prove itself, 
a decent time slot, no preemptions and network 
support. But the production doesn't need to be 
changed. Keep all of the scenery, plots, production 
crew and characters: just give Earth 2 a chance. 

Lauri Beglin 

e-mail address: Dr 

STARLOG feels compelled to point out, however, 
that there was almost no response from readers to 
any of the stories published on Earth 2 in these 
pages until after the series' cancellation. 

. . .1 know this subject has been talked over and torn 
apart, but I want to put in my own two cents. Last 
Sunday I watched Space: Above and Beyond with 
many fellow science fiction lovers. I watched 
Space with high expectations. The reviews of it had 
been good and I hoped it would fill the void I have 
now, due to Earth 2's cancellation. I knew Space 
would never equal Earth 2. but I hoped it would 
come close. I was wrong and very disappointed. 

As I watched the first 15 minutes of Space. I 
was appalled at the amount of violence. I can 
understand the violence that went along with the 
attack of the colony. But then when a group of men 
chased, beat and were ready to hang a man. I decid- 
ed I was wasting my time. I have better things to do 
with my time then watch a show filled with vio- 

lence, obscenities and bad acting. Now. you all are 
probably thinking. "Come on, Claire, aren't you 
overreacting!" Maybe I am. I understand that SF 
shows have some violence, but I think that Space 
was going a little overboard. I didn't understand 
why this senseless act of violence was included. I 
only watched the first 15 minutes of Space, so I 
don't know if it improved, but I doubt it very much. 

My opinions may have something to do with 
the fact that after a year of watching the quality 
television show Earth 2. 1 now have high standards 
for TV shows. I know I will never watch other TV 
shows the same way due to the fact that I saw true 
TV excellence in Earth 2. 

Claire Campana 

West Redding. CT 


...After watching the two-hour season premiere of 
ST: DS9. "The Way of the Warrior," it should be 
clear to everyone that this show is truly part of the 
Trek universe. Personally. I consider it superior to 
Generations, as it was better written and possessed 
a more coherent plot. However, as I thought about 
the show. I suspect that the producers have brought 

TH£ &\GKoONt>?RC£>rCse&)m'S'W£ 


more of a challenge upon themselves than they 
envisioned. For years, the producers have simply 
avoided certain issues by ignoring them, but now 
they have put themselves into a position to show 
that the Federation is more than just talk. This is 
the bleakest moment for the Federation that I have 
seen since I started watching Star Trek. The rumors 
of war are often more stressful than the actual war 
itself and the threat of the Dominion is impressive. 
But is this the direction they want to go? Are the 
producers willing to actually damage or even 
destroy pan of the Federation to improve it? Will 
their bosses let them? Personally. I hope so, 
because Star Trek needs a change of direction in 
order to continue to grow. Until recently, it has 
been relatively stagnant and predictable. Now there 
is a glimmer of change on the horizon. 

The Federation as we have known it in ST: 
TNG has appeared to many as a kind of politically 
correct, almost benign organization dedicated to 
exploration and peace among its neighbors. And 
for about 75 years this has been the case, if you 
don't count those little misunderstandings that 
occasionally happened along the way. That was a 
nice downhill ride, but that leg of the trip is almost 
over. The Federation is now reaching into new 
areas of the galaxy, and recently they have been 
running into more and more aggressive species 
such as the Borg and. of course, the Dominion. 
Against these threats the Federation appears lack- 
ing. Enter the Klin»ons. 

20 STARLOG/FetV-oary 1996 

flfc>Vg(.E on rm iSlftAlfc ©F DR./WoREflU 

For years, the Federation has feared and mis- 
ssted. but grudgingly respected, the Klingon 
npire as a once ruthless enemy, savage partner in 
ar and now cautious ally. However, as we have 
seen, their reputation as a fighting force to be reck- 
oned with is no longer deserved. They don't fight 
»ell anymore. The burning of a warrior's blood 
and fighting for one's honor won't make it. as we 
32\e seen. Worf seems to be the only one who seri- 
xish studied his own Klingon martial arts tech- 
niques. Eighty years of peace has dulled their 
ng abilities. They run mindlessly into battle 
ithout considering the strengths of their oppo- 

new to the Federation, with only approximately 30 
percent of one galaxy being explored. That's like 
exploring Hootervile. Illinois and assuming that 
it's the whole world. Only time will tell. 

Some of these situations have been on the back 
burner for a long time and those in charge seem to 
evade these and other questions time and time 
again. The question is why? Unpleasant questions 
cause problems true enough, but they also force 
one to attempt to find solutions, and that is the pur- 
pose of the Federation, not just to keep the peace. 
Let us hope that there is something left for the 
U.S.S. Voyager to come home to. 

Albert Green 

2746 W. Monroe 

Chicago. IL 60612 


...In the issue #220 Prince of Darkness story on 
Rob Bowman and the STARLOG PRESENTS 
special, you've once again given us an interesting, 
enlightening look behind the scenes at the plan- 

nents. In hand to hand combat, they were humiliat- 

_ _ E\ idently. Starfleet training was dedicated to 
le premise of combat against Klingon martial 
Klingon war tactics are screwed. Their 
sate-of-the-art" weaponry, as compared to Feder- 
oon weaponry, is lacking. There were many who 
ftould have sacrificed everything just to win an 
unnecessary battle. They sacrificed their lives stu- 
pidly. It was and is unworthy of the Empire to do 
-. Therefore, I believe that it is good that they 
ire becoming aggressive once more, because at 
Ihis point in time they are much like toothless 
dogs — all bark and little bite against a worthy foe. 
Ibey wouldn't hold their own against the Domin- 
in this present condition. They need competent 
instructors and lots of them. They need people 
I have clues about tactics. They need people 
bo can balance their emotions in the heat of battle. 
This new conflict will begin to sharpen their 
:eeth and possibly cause heartache as well as 
headache, but ultimately this will strengthen the 
Federation, because at this point they also appear 
■eak. Send six ships against a Klingon armada 
n at their present level of incompetence? 
■fleet and the Klingon Empire need the exercise 
■der to turn all that extra flab into something 
abling muscle before it is too late. Eventually. 
tale difference of opinion (which may last 
100 years or so) will only serve to strength- 
s between both peoples. 
b groups are entering a new phase of 
Since the Borg conflict, there have been 
new officers and crew members in command 
and improved Starfleet vessels, and many 
. . ;\r generation" Kirks. Spocks and Rik- 
aould be a tad distrustful of Picard. no matter 
te circumstances of his encounter with the Borg. 
they simply don't know him. 
ill Sisko get the respect he deserves for con- 
iiolding the line? Will he actually keep his 
friend or will she wind up being a Domin- 
j-shifter and thereby ruin what is slowly 
as op to be a pleasant relationship for a Fed- 
■ captain for a change? Are the producers 
bog us that they may be returning to the old 
lassie Trek'l The answer to the last ques- 
55, since space exploration is still 


ning. the work and the spirit behind this excellent 
drama. The X-Files. 

I'm looking forward to the movie and Bow- 
man's promised increase in character-oriented 
(mythology) stories on the series. I believe they are 
not only favorites of fans, but are the most interest- 
ing and challenging for David Duchovny and 
Gillian Anderson. 

Janet E. Tomey 

873 Westview Terrace 

Dover. DE 19904 


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Assembled by 


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The official Jamie Murray fan group. 

f&IS, iX~... ITU. ~^S.SXIS-\'£NTi- 
~UL flic y0UA8£H'Tl00PHm F0P.UJ.'3? 

roML.wmoum'fL'&fi muss 

WB52 «£ iHOULp) 
l£THm »££UX3 I 
t&Jc AS 

imm OFFICER. . 


Sanctioning: Jamie Murray. 
Address: Myhr's Lair 

Tina Jafari 

8024 C Sands Point 

Houston, TX 77036 
Dues: $10 (U.S.), $15 (elsewhere). 
Membership Includes: Certificate. ID 
card, autographed photo, bio, quarterly 


The official club for fans of Legendary 
Journeys of Hercules actor Michael Hurst. 
Sanctioning: Michael Hurst. 
Address: Michael Hurst Fan Club 

P.O. Box 49622 

Algood. TN 38506 
Dues: $15 per year (U.S.), $16 (Canada), 
$18 (elsewhere). 

Membership Includes: Autographed 
photo, membership card, bi-monthly 
newsletter, career bio. 


The official Mark Allen Shepherd fan 

Sanctioning: Mark Allen Shepherd. 
Address: Mom Watchers 
Tina Jafari 
P.O. Box 630175 
Houston, TX 77263-0175 
Dues: $15 per year (U.S.), $25 (elsewhere) 
Membership Includes: Certificate, ID 
card, autographed photo. Bio-Scan quarter- 
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A publication covering the work of actor 
Michael Pare. 
Sanctioning: None. 

Address: The Michael Pare Advocate 


P.O. Box 295 

Hudsonville. MI 49426-0295 
Subscription Rates: LSASE or 2 IRCs. 


A Star Trek club for those looking for 

something different. 

Sanctioning: None. 

Address: S.S. Silent Warrior 
c/o Elizabeth Weber 
P.O.Box 141199-798 
Dallas. TX 75214 

Dues: Send SASE for more info. 

Membership Includes: Bi-monthly 

newsletter and name badge. 


A general science fiction club. 

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Address: The Grand Alliance 
c/o Bvron Flynt 
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Arlington. TX 76006 


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January 6-7 
Hotel Pennsylvania 
New York. NY 

Creation Entertainment 

41 1 North Central Avenue 

Suite 300. Glendale. CA 91203 


Guests: John Saxon. Clint Howard. 

Brian Yuzna. Lucio Fulci. Tony 



January 7 

Tower Plaza Shopping Center 

Yisua. CA 

Chris Mackey c/o Trivia 

3334 W. Caldwell #64 

Visua. CA 93277 



January 13-14 
Burbank Hilton 
Burbank, CA 

Creation Entertainment 

See earlier address 

Guests: Gillian Anderson. Chris 

Carter. Dean Haglund 



February 2-4 
Manchester East Hotel 
Glendale, WI 
CremeCon 2 
P.O. Box 37986 
Milwaukee. WI 53237 
(414) 223-3243 
Guest: Lawrence Watt-Evans 


February 2-4 

Holiday Inn Beach Resort 

Ft. Waiton. FL 

HurriCon Clive 

328 N. Elgin Parkway 

Ft. Walton Beach. FL 32547 


Guests: Clive Barker. Philip Jose 

Fanner. Peter S. Beagle 


February 15-18 
Adam's Mark Hotel 
Charlotte, NC 
Magnum Opus Con 
P.O. Box 6585 
Athens. GA 30604 

WAR '95 

February 15-18 
Adam's Mark Hotel 
Charlotte, NC 
National Association for 

Professional Gamers 
P.O. Box 6585 
Athens. GA 30604 


February 16-19 
Airtel Plaza Hotel 
Van Nuys, CA 

Gallifrey One Conventions 

P.O. Box 3021 

North Hollywood. CA 91609 


Guests: Sylvester McCoy. Sophie 

Aldred. Patricia Tallman. John Lev- 

ene. Larry Niven. Jean-Marc & 

Randy Lofficier. Larry Stewart. 

Phil Segal 


February 17-18 



Holiday Inn 

Studio City, CA 

LeapTime. Inc. 

P.O.Box 16495 

North Hollywood. CA 91615 



March 8-10 

Holiday Inn Executive Center 
Virginia Beach. \ A 
Katsu Productions 
P.O.Box 11582 
Blacksburg. \A 24060-1582 
Guest: Steve Bennett 

C0N*CEPT '96 

March 22-23 

Holiday Inn Crown Plaza 

Metro Center 

Montreal. Quebec 


P.O. Box 405. Station H 

Montreal. Quebec 

H3G 2L1 


Guests: Terry Pratchett. 

Bob Egeleton 


March 22-24 
Brownstone Hotel 
Memphis. TN 

MidSouth Science Fiction 
Conventions. Inc. 
P.O.Box 1 1446 

Memphis. TN 381 11 


Guests: Barry Longyear. Frank Kelly 

Freas. Paul Darrow 


March 22-24 

Best Western Red Lion Inn 

Blacksburg. VA 

Technicon 13 


P.O. Box 256 

Blacksburg. VA 24063-0256 


Technicon® VTCCl.Bitnet 

Guest: L.E. Modesill 


March 29-31 

Holiday Inn Vorkdale 

Toronto. Canada 

c/o Prisoners of The Knight 

203-23 Oriole Road 

Toronto. Ontario M4V 2E6 



Guest: Deborah Duchene 


March 30-31 
Westpark Hotel 
Tysons Corner. VA 

(703) 280-5382 

Guests: Robert Picardo. Grace Lee 
Whitney. David McDonnell. Dennis 
Russell Bailev 

22 STARLOG/Februarx 1996 

)ues: Individual: S15. family of two: $18. 

lily of three: $21. Canada and Mexico 
add SI. All other foreign add $5. 
Membership Includes: Quarterly 
newsletter, name badge. 

A club for fans of Star Trek and Star Wars. 
Sanctioning: None. 
\ddress: 5. 5. Shadow spawn 

c/o Elizabeth Weber 
P.O.Box 141199-798 
Dallas, TX 75214 

Dues: Send SASE for more info. 

Membership Includes: Bi-monthly 

rse'A sletter, name badge. 


A fan club set around Star Trek IV, on 

another ship. 

Sanctioning: None. 

Address: Joseph D. Bonice 
1098 Skyline Road 
Oak Hill. OH 45656-9094 

Dues & Membership: Send SASE for 



A Star Trek/SF club. 
Sanctioning: None. 
Address: Federation Archives Fan Club 

P.O. Box 596 

Eau Claire. WI 54702-0596 
Dues: S12 per year. $6 per half year. $3 
per quarterly journal. 
Membership Includes: Four quarterly 
journals, membership certificate, pin. 


International club for fans of SF and Star 

Trek, specifically Bajor and its culture. 

Sanctioning: None. 

Address: The New B.L.O. 

c/o Ryan Schiffbauer 
106 Willow Way 
Fairmont, WV 26554 

Dues: 58 per year. 

Membership Includes: Quarterly 

newsletter, pin, Bajoran references. 




$79 -$99 S6t while supplies last 





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Passing the Torch 

How come you don't apply color theory when you paint?" The young man looked 
down at the floor and smiled. "I guess I just do what/eels right." 
"That gets you into trouble every time." The voice was gentle, yet demanding. 
"You're in school to acquire knowledge, to develop skills — not to indulge your feelings." 

I could see mutual respect between the student and his teacher, but the young man 
shifted uneasily from one foot to the other. "Yeah. I know." 

"Your shadows are dead black. Throw away that tube of black paint, and tell me the 
color theory of shadows." 

"I learned that stuff a long time ago." 

"Tell me!" 

"I don't remember, exactly." 

"All right, listen!" With good humor in his voice, tfie teacher quickly recited knowl- 
edge that was an automatic part of his mind: "A shadow is the base color neutralized by 
its complement, warmed or cooled according to the light source, taking into account 
reflected light." 

''Oh, yeah. I remember now." 

"Of course, in space there is no reflected light." the teacher chuckled, "but otherwise 
that theory is true for every shadow in the universe, forever and ever." 

I was in an upstairs office of New York's Fashion Institute of Technology, witnessing 
a passing of the torch of knowledge. The teacher was Vincent Di Fate, the successful 
professional artist who has been melded to the science fiction universe since he was a 
child. In his 27 years as an illustrator, Di Fate has created more than 2.500 works of 
art — including movie storyboards. postage stamps featuring dinosaurs, cover art for the 
Signet paperbacks by Robert Heinlein and Arthur C. Clarke and Berkley's edition of 
Frank Herbert's Dune. 

Di Fate is especially proud of being asked to paint the official NASA visualization of 
Space Station Freedom in 1985 and of being elected current president of the Society of 
Illustrators. Three years ago. he began teaching a class at F.I.T. in science fiction illus- 
tration. "It takes me out of the studio." he explains. "It's refreshing!" 

Once a week he travels into Manhattan in order to pass along his artistic and technical 
knowledge of illustration, along with his practical experience of making a living painting. 
His class has grown popular with artists who love SF and with general illustrators. 

"I'm very proud to be teaching here." Di Fate says of F.I.T. "This school was found- 
ed 50 years ago by the garment industry, but it now has the best illustration faculty in 
the country. Many of the top working illustrators teach here. and. unlike most colleges, 
we are not stepchild to a fine arts department. Here, illustration is king." 

During the afternoon before his evening class, several students brought their art to 
his office for private discussions. Ned found that he had forgotten the color theory of 
shadows, and another student discovered that he had accidentally given away the sur- 
prise ending of the assigned story, by showing the climax. In each case. Di Fate pounded 
knowledge into their minds as he drew individual quirks and thoughts from those minds. 
He got to know his students as he taught. 

Class, that night, was a three-hour program of engaging entertainment and hard criti- 
cism. "Happy accidents should not account for more than 20% of the painting." Di Fate 
told one student. A fantasy story had been assigned, so a dragon was featured in each 
illustration that he critiqued — with comments freely offered by the students. Visions and 
styles were as varied as the students. No one saw the story with the same pair of eyes. 

Di Fate ended class by showing clips from science fiction movies including Destina- 
tion Moon. The Conquest of Space and 2001: A Space Odyssey, in order to explain the 
next assignment, an illustration for Clarke's short story. "Take A Deep Breath," involv- 
ing E.V.A. "Reflected light will not be part of your shadows." Di Fate explained. "In 
space, contrast is extremely high, with a single, strong light source. That's because..." 

Di Fate always includes scientific knowledge in his teachings of illustration. "The 
more you know, the more interesting worlds you can create. We artists must be masters of 
sleight of hand — using our tricks to make people believe that what we show them is real." 

Vincent Di Fate is Houdini. 

Years ago. there was no such class as science fiction illustration. The field in which 
scientific knowledge combines with artistic skill and yields imaginative illusions was 
not taken seriously. It was not worthy of being taught. 

Young science fiction fans are incredibly lucky today — in illustration, in writing, in 
filmmaking and in many other areas — the torch of knowledge is being passed with gusto 
from one generation to the next. 

— Kerry O'Ouinn 

24 STARLOG/ February 1996 

Explore the History of Science Fiction in 

Order now while issues last! 

Note: All issues include numerous articles & 
interviews. Only a few are listed for each entry. 

= Roddenberry. 
asece :999 EP 

-ogan's Run. 

broffoe Worlds. 

ze: 1999 EP 
Sjos. Nichelle 
fictofs. George Takei. 
SeForest Kelley. S35. 

- 3-D SF Movie 
3*jde. Richard 
Anderson. Outer Limits 
EP Guide. S50. 

-: 3-D Film history. 
UFO & Space: 1999 
EP Guides. S1 5. 

=6 Robert Heinlein on 
Destination Moon. 
Animated Star Trek. 

-~ Star Wars. 
Rocketship X-M. 
Space: 1999 Eagle 
blueprints. Robby. S35. 

*8 Harlan Ellison. Star 
Wars. The Fly. S25. 

='0 George Pal. Ray 
Harryhausen. Isaac 
Asimov. S20. 

=11 CE3K. Prisoner 
EP Guide. Incredible 
Shrinking Man. Rick 
Baker. S20. 

=12 Roddenberry, 
Doug Trumbull & 
Steven Spielberg. 
CE3K. Dick Smith. 

=13 David Prowse. Pal 
on The Time Machine. 
Logans Run EP 
Guide. $5. 

=14 Project UFO. Jim 
Danforth. Saturday 
Night Live Trek. $5. 

#15 Twilight Zone EP 
Guide. Galactica. 
Richard Donner. This 
Island Earth. $5. 

=16 Phil Kaufman. 
Fantastic Voyage. 
Invaders EP Guide. 

: 17 Spielberg. 
Roddenberry. Joe 
KaJdeman. Ralph 
McQuarrie. S5. 

=18 Empire. Joe 
Dante. Dirk Benedict. 
Richard Hatch. S5. 

=19 Roger Corman. Gil 
Gerard. Star Wars. 
Sec/ Snatchers. CE3K 

=20 Pam Dawber. Kirk 
Atyn. Buck Rogers. 
Superman. S5. 

#21 Mark Hamill. Lost 
n Space EP Guide. 
Suck Rogers. S5. 

__ _:rne Greene. 
Veronica Cartwright. 
Soecia! FX careers. 
AUEN. $5. 

• :: Zi. : -' 
I =- : B=":0.- Dr. 
MfioEP Guide. Day 
==- ?::=$: 

- -: -. 

#24 STARLOG'S 3rd 
Anniversary. William 
Shatner. Leonard 
Nimoy. S6. 

#25 Ray Bradbury. 
Star Trek: TMP. Thing. 

#26 Ridley Scott. H.R. 
Giger. ALIEN. Gerry 
Anderson S5. 

#27 Galactica EP 
Guide. ST: TMP. 
ALIEN FX. Nick Meyer. 

#28 Lou Ferrigno. 
Wonder Woman EP 
Guide. S5. 

#29 Erin Gray. Buster 
Crabbe. S5. 

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Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. S15. 

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Leagues Under the 
Sea. Chekov's Ent. 2. 

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Buck Rogers & Trek 
designs. Chekov's Ent. 
3. S6. 

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Ellison reviews Trek. 

#34 Tom Baker. Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers. $15. 

#35 Billy Dee Williams. 
Empire & Voyage FX. 

#36 4th Anniversary. 
Nichols. Prowse. Glen 
Larson. Yvette 
Mimieux. S6. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon. S5. 

#38 CE3K. Buck 
Rogers EP Guide. 
Kelley. S5. 

#39 Buck Rogers. Tom 
Corbett. Erin Gray. 
Fred Freiberger. $5. 

#40 Hamill. Gil Gerard. 
Roddenberry. Jane 
Seymour. Freiberger 2. 
Empire FX. S4. 

#41 Sam Jones. John 
Carpenter. S5. 

#42 Robert Conrad. 

Mark Lenard. 
Childhoods End. 
Dr. Who. S6. 
#43 David 

Cronenberg. Jeannot 
Szwarc. Altered States 
FX. Hulk EP Guide. 

#44 Altered States. 
Bob Balaban. $5. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. S5. 

#46 Harry Hamlin. 
Blair Brown. Superman 
II. G American Hero. 

#47 Takei. Sarah 
Douglas. Doug Adams. 
Outland. S5. 

#48 5th Anniversary. 
Harrison Ford. Lucas. 
John Carpenter. Bill 
Mumy. S6. 

#49 Adrienne Barbeau. 
Kurt Russell. Lucas. 
Takei. 007 FX. 
Raiders. $15. 

#50 Spielberg. Sean 
Connery. Lawrence 
Kasdan. Lucas. Ray 
Walston. Heavy Metal. 
Dr. Who. S50. 

#51 Shatner. 

Roddenberry. Jerry 
Goldsmith. Kasdan. 

Batman. S5. 

#52 Blade Runner. 
Shatner. S5. 

#53 Bradbury. Patrick 
Macnee. Blade 
Runner. S5. 

#54 3-D Issue. Bob 
Culp. Connie Selleca. 
Terry Gilliam. Leslie 
Nielsen. Raiders FX. 
Trek bloopers. S5. 

#55 Quest for Fire. Phil 
K. Dick. Culp 2. Ed 
{UFO) Bishop. 
Trumbull. Trek 
bloopers. $6. 

#56 Zardoz. Triffids. 
Trek bloopers. S5. 

#57 Lost in Space 
Robot. Conan. 
Caroline Munro. Ron 
Cobb. S10. 

#58 Blade Runner. 
The Thing. Syd Mead. 
Trek bloopers. S10. 

#59 The Thing. 
Kirstie Alley. Merritt 
Butrick. Arnold 
Schwarzenegger. S35. 

#60 6th Anniversary. 
Star Trek II. Carpenter. 
Ridley Scott. TRON. 

#61 TrekilPX.2. Walter 
Koenig. Sean Young. 
Road Warrior. S15. 

#62 Ricardo 
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,i3~«SS 'Am ■'■ :'•■':■ 

Battling relentless Screamers all the way, Peter Weller ^dges 
backj'nto the science-fiction universe. 


or do I find it? That's a good ques- 
tion" notes genre veteran Peter 
Weller. whose SF adventures include The 
Adventures of Buckaroo Banzai Across the 
Eighth Dimension, the first two RoboCop 
films, Leviathan, and now the futuristic epic 
Screamers. "I don't actively seek these kind 
of projects, so I guess you would have to say 
they've found me. You can have great char- 
acters and tell amazing stories in the sci- 
ence-fiction milieu. Science fiction movies 
can look great and they can move. So, yeah, 
they find me, but it's not like I'm hiding 
from them." 

Screamers, as directed by Christian 
(Scanners II & III) Duguay from a script by- 
Dan (Total Recall) O'Bannon and Miguel 
Tejada-Flores, was based on the Philip K. 
Dick short story "Second Variety." The film 
casts Weller as Colonel Joseph Hendricks- 
son, leader of a small Alliance force on the 
former mining planet Sirius 6B. The year is 
2078 and Sirius 6B is pretty much hell. It's a 
cold, dank place, an Earth colony peopled by 
the few surviving men and women of a war 
that has been waged for more than a decade. 
When an enemy soldier from the New Eco- 
nomic Bloc arrives with a gesture of peace, 

Screamers is a multi-faceted tale: it is 

about war, betrayal, evolution, loyalty, 

love, technology and the man who must 

resolve it all, Col. Hendricksson (Weller). 

STAKLOG/Februarv 1996 

Hendricksson realizes that everyone on both 
sides has been left by the governments back 
home to battle each other to the death. 
Angry, embarrassed and frustrated, he 
decides to take matters into his own hands. 
Thus, he begins a dangerous journey to meet 
his enemy — or perhaps his maker — in an 
effort to make peace. 

Along with Hendricksson on his journey- 
is Ace (Andy Lauer), an eager and untested 
young Alliance soldier. Together, they must 
make their way across the planet's war-torn, 
icy terrain, braving toxic air and at all times 
remainina on the lookout for the film's title 

devices, piercingly-loud, blade-wielding 
metal contraptions that will attack anything 
with a heartbeat. Only those people sporting 
life sign-muting wrist bands are spared. Oh, 
and there's one more little detail of impor- 
tance about the Screamers, which Hen- 
dricksson had a hand in devising as a source 
of protection for the Allied forces: they were 
designed to reproduce on their own. Now it 
seems the little buggers are not only self- 
replicating, but they are also evolving. 

By the time Hendricksson and Ace reach 
the New Economic Bloc base, it's virtually 
too late, as the Screamers have done their 
damage. Only a pair of soldiers, Becker 
(Roy Dupuis) and Ross (Charles Powell) 
and a spirited black marketer named Jessica 
(Jennifer Rubin) remain. Will the group get 
along? Can they reach Alliance headquar- 
ters'?Will Earth welcome any of them home? 
The answers to all of these questions are 
moot if the Screamers get to Hendricksson. 
Ace. Jessica and the others first. 

"I love the movie. I just love it." Weller 
raves. -O'Bannon had the action thing going 
in the script, but Dick had another thing 
going in his short story. He had an important 
allegorv going through it. So. I talked to 
Christian Duguay about that. He said, "Peter. 
e't do it about the Russians, because 
the Evil Empire is gone. What if we do it on 
a planet where there's a war by proxy, not 
unlike the one in Bosnia?" He talked about 
setting up a world that's moving so fast, 
where we could have a backstory about 
whether or not mining should have been 
done at this site. The w hole point is that back 
on Earth, people are supposedly talking 
about ending the war. but no one's bothering 
to really end it. 

"So. up on Sirius 6B. people are taking a 
stand, or so they think. But even that's a 
house of cards. These people are betrayed. I 
thought. 'Hey, that's good. Can we do it?' 
Christian set out for me how we could pull it 
off. I saw Hendricksson as a guy who was at 
one time an idealist, not unlike I was in the 
1960s. He was a guy who would fight for his 
dreams. He didn't want the mining to hap- 
pen because he knew it would release all of 
this radiation. He's really in denial when it 
comes to the truth of what's happening 

und him. As Gandhi said, war, in any 

:-' entually bites itself in the ass. The 

mk wars and the fighting on Sirius 6B 

. d more radiation than the mining 

rr could have. So. here's Hendrieksson. 

. hanging onto the ideology that he's on 

re -ght side. Then, he finds out he has been 

-2ved by the people he thought were sup- 

a ::im. When he sees the supposed 

■3 irying to make some sort of peace 

Bering to him, he comes out of his denial. 

~I like that he comes out of that denial 

_: :he movie's middle or end. but right at 

-ginning. He realizes the last 20 years 

s life have been a lie," continues Weller 

ix passion. "There's only one thing to do, 

that's to make peace. So. Hendrieksson 

to do just that. On the way, he learns 

;• new threat — the Screamers, the 

.:r.g> they've created to annihilate the 

ave a consciousness of their own. 

i:'> Philip K. Dick's ongoing deal: that 

thing you make will evolve on its own 

eventually get you. The only solu- 

B io not build them in the first place." 

Team Leader 

for the basic concept of the Scream- 

r says that he's of the belief that 

ces could exist one day, and one 

oner than later. '"How far away are 

ion't know, but it could happen at any 

1 Someone somewhere could proba- 

make something like a Screamer, or 

jbe an automaton that could walk right 

yone's house of government and light 

sing up." he notes. "It's very possible. I 

mat's why science fiction holds so 

sppeal to so many people. It's so pre- 

"Buckaroo Banzai never opened and you 
know why?" Weller asks of the cult 
favorite. "Nobody knew what it was. 
/didn't know what it was, either." 

co-stars, calling them all "very good and tal- 
ented" and adding that "I loved working 
with them," he didn't hang out with them 
because their characters, with the exception 
of Lauer's, didn't share Hendricksson's 
emotional journey. The actor, however, 
reports that he worked closely with director 
Duguay and proceeds to chat at length about 
the man behind the camera. Duguay was a 
camera operator — "not even a director of 
photography," adds Weller — on an episode 
of the series Crossbow when the director fell 
ill. Duguay assumed the director's chair and 
subsequently directed 16 episodes before 
graduating to Canadian feature films and 
American telemovies. 

Upon first hearing of Duguay 's back- 
ground, Weller grew concerned that the 
director would be obsessed with visuals and 
miss the actors' performances. "It was the 
exact opposite," Weller says with relief. 
"Instead of being obsessed with frame. 
Christian knows exactly what he's got and 
moves on. For an action director, he's the 
most intelligently committed to story, per- 
formance and arc I've ever seen. He's an 
incredible executor of visual imagery. Chris- 
tian is also the only guy I've ever worked 

with who insisted, no matter where we were 
and no matter when, on story meetings over 
the phone. I wish everybody would do that." 

Screamers was shot on a modest budget, 
but much of its grandeur is quite convincing. 
The FX and matte work are impressive, 
while the locations are top-notch. The city of 
Joliette, Quebec doubled as the surface of 
Sirius 6B, while other outdoor sequences 
were shot at a cement quarry in Montreal 
and on a wind-whipped plateau. Several 
indoor scenes were shot in, of all places, the 
Big O. better known as Montreal's Olympic 

"Didn't it look like Christian manufac- 
tured some of those locations? I was talking 
with some friends who saw the film and they 
wondered how we came up with the emerald 
pools that you see, the snow and the sand, 
and these big machines [the Alliance bunker 
entrances]. The location gods were definite- 
ly with Christian," Weller notes. "He showed 
me these sand dunes in northern Quebec 
which were staggering. They look like the 
desert but they're freezing. 

"Christian looked at me and said, Tf the 
magic is with us, in two weeks, after we 
shoot the desert, it'll dump snow. Then, we 
can shoot the movie's end and we'll have 
snow on the sand." If you prayed for and got 
a giant snow machine, you couldn't have 
aotten it to look as eood. The matte shots 

"Christian [Duguay, director] looked at me and said, 'If the magic is with us, in two 
weeks, after we shoot in the desert, it'll dump snow,' "Weller recalls. It did. 

■ is the type of actor who takes his 

jss seriously, and that demeanor car- 

: - onto the set of his films. So, while 

] r Js of praise for his Screamers 

ctadi r\n.ic„u.- 

"I was obsessed with everything," remembers Weller of his 
RoboCop 1 mindset, "from the the relationship 
with Nancy Allen." 

i were all inserted above the sand and snow 
! shots. Later, Christian took me to this loca- 
| tion where the steel residue from this aban- 
; doned steel plant had seeped into these 
; ponds of ice, which turned them lime green. 
i> Those scenes are not processed, man. I'm 
i not kidding when I say the location gods 
\ were with this guy." 

; Though there's plenty more to be said 
s about Screamers, Weller agrees to first take 
\ a peek back at his past genre outings. First 
\ up is the now-cult classic Buckaroo Banzai. 
3 . (which Weller discussed in the cover story of 
| STARLOG #86). He, of course, played the 
: heroic title character and shared the screen 
» with Ellen Barkin. John Lithgow. Christo- 
g pher Lloyd, Clancy Brown and Jeff Gold- 
= blum, the latter of whom remains Weller's 
5 close friend and plays jazz with him in a 

Rock & Roll Surgeon 

Directed by W.D. Richter, Banzai 
flopped loudly upon its release in 1984. "It 
did not do well in theaters. It did not. as they 
say, open [have a financially lucrative debut 
weekend]. Andrea Jaffe, a very big publicist, 
said the only reason a movie doesn't open is 
marketing. That's it. You can take the 
world's worst movie," he suggests, "market 
the hell out of it, and boom! It will open. It 
may die in its second week, after word of 
mouth gets out there, but it will open. Bucka- 
roo Banzai never opened and you know 
why? Nobody knew what it was. / didn't 
know what it was, either. 

"The marketing people at 20th Century 
Fox sat me in a room and said, 'How would 
you market this film?' I said. -Well, it's an 
action-whatever.' An editor friend of mine 

IAN SPELLING, veteran STARLOG corre- 
spondent, profiled Pierce Brosnan in SF 

"I had one of the best years of my 
life shooting that film in Italy," 

recalls Weller of Leviathan, one of 

the underwater thrillers that 

surfaced thanks to The Abyss. 

saw it about two weeks after it came 
out and said. 'Man, they just did this 
movie wrong. This is a comedy.' It 
should have been marketed as what it 
was, which was really a send-up." 
Though Buckaroo Banzai failed at 
the box office, it did gamer a large, 
fervent audience upon its video 
release and remains a popular video 
rental to this day. Over the years, not 
too surprisingly, there has been talk 
of a sequel. Such talk seemed to be 
wishful thinking, considering the 
first film's fate. 

Yet. director John Carpenter and 
Kurt Russell are currently making a 
big-budget sequel to Escape from 
New York, another SF cult classic that 
even the most creative of accountants 
would have a tough time calling a 
money-maker. "I would like to see a 
sequel to Buckaroo Banzai, but I'm 
not sure it can ever happen. Look, the 
guy who I think owns the property is 
a friend, but he's probably going to 
jail. David Begelman. the producer, 
shot himself to death. Also, a sequel 
wouldn't be cheap. Just the above the 
line price for me, Lithgow, Goldblum. 
Barkin and Lloyd might be bigger than the 
budget of the original film. But, who knows? 
It could happen, and if the script were good. 
I would certainly consider it." 

No one, however, seems to be pining for 
a sequel to Leviathan, the underwater 
ALIEN-stylt SF thriller that tanked upon its 
release in 1989. Still, Weller has fond mem- 
ories of the experience. "I had one of the best 
years of my life shooting that film in Italy. It 

was an OK film. Everyone thinks there was 
so much underwater stuff, but there really 
wasn't." he claims. "George Cosmatos was a 
brilliant director and it was all done with FX 
and air-blown stuff to give you the feeling of 
being underwater. It was all lights. Was I 
happy with the film? I was happy in a way. 
There should have been more heat to the 
romantic theme between myself and Aman- 
da Pays. There should have been more pas- 
sion there and then more would have been at 

30 STARLOG/February 1996 

Robo 2 Photo: Deana Newcomb/Copyright 1990 Orion Pictures 

■ - ;c 

■>=-- :-ey asked me to do RoboCop 2, 

?. :~ered me a lot of money. So I did 

• 5 er explains."! don't regret doing 

'Z-zz 2. but I couldn't do a third one." 

for the audience. But it's not a bad 
George Cosmatos is definitely 
. : - J. and opinionated, but I love him 
? definitely gifted. He has an incredi- 
: and I liked working with him." 
i Weller boasts a long list of stage 
J has appeared in such recent films 
Allen's Mighty Aphrodite and the 
; Michelangelo Antonioni picture 
| Las Nueges, he remains best 
his memorable work as Mur- 
op in the first two RoboCop 
I maiden Robo-film, in particular, 
red a classic and it added great lus- 
leller's career (as he first discussed in 
.OG #121). "Kids still recognize me 
op, even though I didn't do Robo- 
or the TV series. That first film was a 
•enee-fiction/action film, a really gift- 
It may be Paul Verhoeven's best 
he argues. "It had humor, story, 
a great theme, and Verhoeven put it 
. . ler in style." Though all sorts of 
tie-ins flooded the market following 
"s release. Weller explains that mer- 
g isn't of any interest to him. "You 
> know my remnant of RoboCop? Still 
•n my garage, half as high as the ceil- 
_ original, then state-of-the-art, 
Ely electrified RoboCop arcade 
• -till in there... unopened." 

Stainless Steel Fuzz 

boCop 2, in which Weller reprised his 

■ the troubled Murphy (STARLOG 

. performed decently enough to war- 

: i installment that no one could 

ri« as eagerly anticipated. Though he 

: i to participate in RoboCop 3, 

i nixed the offer and Robert John 

: pepped into the Robo-suit. "I was 

of RoboCop. I was really tired, physi- 

ter the first one. I did RoboCop 

t '. ■■■ anted to work with Paul Verho- 

felt he made movies about resurrec- 

always set against some operatic 

r?p. I wouldn't read for the part and he 

: . Jed to take a chance on me. I was 

1th everything," he recalls, "from 

up. which sometimes had me in the 

six weeks, to the relationship with 

-_ien. I was on a macrobiotic diet. I 

movement. It was tiring, and I 

inerthat one. 

m they asked me to do RoboCop 2, 

■red me a lot of money. So. I did it. 

;re problems with the script. It never 

id a third act. The story just didn't 

>cope. the humor, the fun or the phi- 

of the first one. I knew when I did it 

was it for me as RoboCop. I don't 

noCop 2, but I couldn't do a 

S. I've never seen RoboCop 3 and I 

■een the series they did. and I don't 

I did my thing and moved on." 

might question whether or not 

h is truly a genre film, but David 

STARLOG/Frf;n,a;T 1996 31 

"Its haunting and evocative in a way that most movies I've ever seen just aren't," offers 
Weller of David Cronenberg's vision of William S. Burroughs' Naked Lunch. 

"Was I happy with the film? I was happy 
in a way," Weller says of director George 
Cosmatos' submersible epic. 

Cronenberg's take on the legendary novel by 
William S. Burroughs is so strange it de- 
serves inclusion. Weller was perfectly cast as 
a Burroughsesque writer and exterminator 
who takes several weird trips into a wild 
world of psychedelia filled with giant talk- 
ing cockroaches and other assorted oddities. 
"Cronenberg is a quiet and demure man. He 
has worked with the same people for 20 
years and is very compassionate on the set. 
Naked Lunch is a masterful film," attests 
Weller. "It's haunting and evocative in a way 
that most movies I've ever seen just aren't. 
There are flaws in it and certainly in my per- 
formance, too, but as a film I think it's a 
masterpiece. The story itself, everyone's 
performance, and the cinematography are 
incredibly memorable. Cronenberg used the 
book to tell the story of Burroughs' artistic 
process. Burroughs liked the film immense- 
ly, which was great." 

Movie Director 

As STARLOG readers peruse this article, 
its subject will be deep into his next film. 
Incognito. The project marks Weller's debut 
as a feature film director after having helmed 
a short subject entitled Partners. "It's a 
thriller about an art forger who forges a 
Rembrandt, which is supposed to be impos- 
sible. But he manages the impossible. Then, 
he's framed for a murder and betrayed by the 
people who hired him to forge the Rem- 
brandt," he reveals. "To get himself off on 
the murder charge, he has to prove that he 
forged the Rembrandt, which is a problem 
because people are proclaiming that his fake 
Rembrandt is the greatest art buy in the his- 
tory of the 20th century. It's a thriller and 

32 STAKLOG/February 1996 

there is a romance, too, but it's really about 
authenticity. The character has basically 
faked his way through life." 

Weller, who also directed the Thanksgiv- 
ing episode of the TV series Homicide: Life 
on the Streets and will soon be behind the 
cameras of Horse Warrior: The Story of 
Quanah Parker and the Komanchees for the 
TNT cable channel, may one day set his 
sights on directing an SF film. "I can picture 
directing a genre film if it has an intensely- 
personal theme to it. I was at a restaurant the 
other night in New York and who 
was sitting in a corner but John 
Randolph. John is one of the best 
character actors ever, and he's in 
one of my favorite science-fic- 
tion/psychological thrillers of all 
time, Seconds, which was direct- 
ed by John Frankenheimer. Now, 
Seconds is truly science fiction. 
It's about refiguring the physiog- 
nomy of a human being so as 
you could be someone else. If 
somebody offered me a science- 
fiction film like that, that was 
about personal, psychological 
change, or was a fable or a 
morality play that was embossed 
in SF, I would consider it." 

That comment brings the 
conversation all the way back to 
Screamers, with Weller stressing 
the many merits he sees in the 
film. "The backstory and the 
morality play are well-handled. 
You get it, but we never beat you 
over the head. The FX and the 
look of the film help tell the 
story. It's a tough film, not senti- 
mental at all, and the moments 

"I did RoboCop because I 

wanted to work with Paul 

Verhoeven," reveals Weller. "I 

felt he made movies about 

resurrection, always set 

against some operatic 


of compassion are chosen carefully so it's 
not too syrupy," concludes Peter Weller. who 
adds that he would agree to a sequel if the 
film is a screaming success and if Christian 
Duguay directs it. "There's the quick mes- 
sage near the end. which is if you give some- 
thing a soul, it can learn not just destruction, 
but also love. 

"I thought I was pretty good in it. I'm 
comfortabfe with my performance. It's 
entertainment that moves, that gets up and 
aoes. and it takes you along for the ride."^ 

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When Paul Verhoeven was still mak- 
ing movies in his native Holland, 
he focused time and again on real- 
istic subjects — from the lives of working- 
class youths (Spetters) to the heroics of 
fighters during WW II (Soldier of Orange). 
His last European movie, and first English- 
language effort, was the ultra-realistic 
medieval tale, Flesh + Blood, starring Rutger 
Hauer and Jennifer Jason Leigh. Ironically, 
when he chose RoboCop as his American 
debut, the dazzling futuristic thriller proved 
to be Verhoeven's ticket into super-stardom. 
Of course. Total Recall, starring Arnold 
Schwarzenegger, was even more ambi- 
tious — and a greater success. 

Actually, the filmmaker was bound to dis- 
cover science fiction sooner or later, because 
even as a child he was fascinated by the 
genre. He grew up on American B-movies. 
"Science fiction was something I could 
dream in," he recalls. "I realize it's a kind of 
escapism, but it's also an opportunity to do 
things on a mythological level, things you 

34 STARLOGIFebruary 1996 

After exploring the edge in Total Recall & 

RoboCop, director Paul Verhoeven targets 

Starship Troopers. 


wer do in reality. They seem possible 

■ in the very distant past or in the far 

. In short, archetypal things are better 

essed through science fiction." 

b's no wonder then that after two movies 

-jde the genre — Basic Instinct and Show- 

-..- — Yerhoeven is back where he belongs. 

! next movie I'm going to do is Starship 

as," he offers. "It's based on an SF 

- . Robert Heinlein, and the script is by 

E the writers of RoboCop [Ed 


The story begins on Earth, but then they 
to outer space. It's nearly a biological 
. against giant insects. It's a combination 
le giant bug movies from the 1940s and 
■s — I hope transcending the B -genre — and 
se war movies where you see how young 
react to going to war. So. Starship 
topers will combine those two genres, and, 
ope, be elevated to an A-level movie." Ver- 
hoeven started casting in October and plans 
t> begin shooting in April. 

Monster Thrills 

According to the director. 1950s creature 
novies such as Them!, Tarantula and The 
Deadly Mantis "expressed the fear about the 
nuclear threat at the time and the feelings of 
helplessness and despair it caused. Now, it's 
bout having no more enemies. We're being 
a politically correct: you cannot make a 
movie with the Japanese or the Germans as 
the bad guys because to say foul things about 
ihem is already incorrect. But if it's big 
insects that you can shoot to pieces, nobody- 
cares. So that. I think, is the statement Star- 
hip Troopers makes: we like enemies." 

To film his young protaognists battling 
huge creepy-crawlers from beyond, Verho- 
e\en will have to rely heavily on FX, and 
recent developments in the field will doubt- 
i - - make his task easier — and provide him 
with more realistic creatures than anybody 
could have imagined possible four decades 
. The filmmaker loves movies that boast 

vast vistas and where plenty of 

action is the norm. After all, 

this is someone who counts 

among his favorite films 

Lawrence of Arabia. Dr. 

Zhivago. Raskomon, Ben Hur and 

North by Northwest. He's certainly 

aware that this movie version of 

the classic Heinlein novel 

marks his return to 

mega-budget film- 
making, which both 

pleases and worries 


"RoboCop, which was 

done for $13 million, was a very 

inexpensive movie," he points out. "On the 

other hand, Total Recall cost $60 million. If 

you're making a movie for that kind of 

money, you're watched much more closely. 
You are much less free; that's the problem — 
everybody is looking over your shoulder, 
especially when you go towards the $100 
million mark. Everybody gets scared. And 
it's not always a pleasure to make a movie 
where everybody is scared. 

"You can make a big extravaganza or a 
good epic, like Lawrence of Arabia, but the 
conditions under which you do that are really 
unpleasant. I was delighted to have done two 
movies in a row — Basic Instinct and, espe- 
cially. Showgirls — that were not that expen- 
sive. They cost between $35 and $45 million, 
but this is still a far cry from The Crusades 
[Verhoeven's as-of-yet-unmade medieval 
adventure to star Schwarzenegger]. Once in a 
while you want to try again to do something 
big. Perhaps after doing Starship Troopers, 
I'll back off again and go back to something 

Monster Budgets 

Previously profiled in STARLOG #122 & 
#157, Verhoeven notes. "When I was doing 
Total Recall, there was continuous pressure, 
because everything we tried to do was much 
more expensive than we thought it would be. 
The studio was hanging over our shoulders 
all the time, toning us down, and forcing us 
to think about every little detail and consider 
the cost. Even when doing FX, moving the 
camera a little bit to make it look better is 
very expensive. That kind of feeling is bad. 
On the other hand, when there's a project you 
really feel strongly about, like The Crusades, 
I'd say, 'OK, let's do it for $140 million.' " 

Paul Verhoeven admits that he has studied 
the films of Steven Spielberg and James 
Cameron "mostly from a technical point-of- 
view, to see how they did the FX and the 
action scenes. They are very competent 
directors who are much more into that style 

At long last, the late Robert Heinlein's 

classic SF novel, an inspiration for 

countless other military SF yarns, will 

make it to movie screens. 

With RoboCop and Total Recall in his 
past, Paul Verhoeven looks forward to 
making Starship Troopers. 

than I've ever been," he adds, 
chuckling, "but I still want to com- 
pete with them a little bit." 

Perhaps the director has learned a 
trick or two from his peers, but his 
movies share a point-of-view that is entirely 
his own: a moral ambiguity that refuses to 
crudely distinguish between good and evil, 
but acknowledges the blend of the two. 

"In my movies," he explains, "there's a 
great ambiguity about morals and character. 
The characters in my movies are never clear- 
ly heroic. You could even say that the main 
ones — look at Michael Douglas in Basic 
Instinct — are flawed people. And, basically, 
that's my belief in life: that there's no white 
knight, that everybody has part of the shad- 
ow. By showing that, I believe that you do 
something socially constructive, because you 
refuse to perpetuate the myth that everybody 
is OK. We'll never fight the shadows and the 
evil inside us if we continuously suppress 
this reality and refuse to show it. I would say 
it's about time we did." -4? 

STARLOG/ -February 1996 35 

Desmond Llewelyn is still armoring & 
disarming a certain superspy. 


Desmond Llewelyn as Q is the Merlin of 
the Bond series. He's almost a mythi- 
cal character. Everyone loves to see Q 
in a Bond movie. People wait for the Q scene. 
So, just to stand there opposite Desmond and 
remember when I saw the other Bond films 
and the other Bonds as a kid growing up was 
fascinating. I remember when Sean Connery 
was shown the Aston-Martin by in 
Goldfinger. For me, shooting the Q scene in 
GoldenEye was like being in a time capsule!' 
enthuses Pierce Brosnan, the latest Bond, of 
sharing the screen with Llewelyn, who has 
portrayed Bond's huffy and desperate-for- 
respect MI6 gadget provider in all but two of 
the 17 official United Artists 007 films (Dr. 
No, Live and Let Die). "Standing there with 
Desmond made me realize I'm now part of 
that time capsule, that we really have done 
the film, and that I'm now playing James 
Bond. I think Desmond felt that way, too. 
Here he was, in another Bond film, with 
another Bond, and he's still an important 
part of that time capsule" 

At age 81 , Llewelyn still has what it takes 
to do the job in GoldenEye. This time out. O 
offers Bond a BMW that gives new meaning 
to the term "fully loaded" a ballpoint pen 
that turns into a grenade, and a belt buckle 
which holds 75 feet of wire strong enough to 
bear Bond's weight. Along the way, Q proud- 
ly shows off several new weapons in develop- 
ment, including an explosive foot cast and a 
claustrophobic phone booth. All of the vari- 
ous gadgets, off course, elicit groaner quips 
from both Llewelyn and Brosnan. Should 
GoldenEye prove successful enough, 
chances are that six years won't pass 

between 007 adventures, as happened with 
the releases of Licence to Kill and Golden- 
Eye. And, should the fates be kind, look for 
Llewelyn to return with more gizmos and 

Except for the Bond films, Llewelyn is 
basically in semi-retirement these days, pop- 
ping up occasionally in British stage or tele- 
vision productions. Llewellyn (previously 
profiled in STARLOG #72) spends much of 
his time at his home outside London, where 
he lives with his wife and enjoys frequent vis- 
its from the couple's two sons and four 
grandchildren. On this particular day, an 

Providing weaponry for the British Secret 
Service, Q sometimes has great notions, 
sometimes not. Take the Indian rope trick. 

36 STARLOG/Februarv 1996 

■te's no gadget expert, Llewelyn is quick to confess. He's just an actor, able to put up 
»allpaper, but not much else. 

5 . Llewelyn is in Los Angeles to do his 

discussing the latest 007 mission. So it is 

then, that the gentlemanly, silver-haired 

tor reflects on O, GoldenEye and Bond 

u:\ngs past. 

>TARLOG:Where is the strangest place 
»ou*ve ever been recognized as Q? 

nth my wife. We were in Pompeii in March 

995. No one was to be found there at all. 

One man suddenly came up to me and said. 

ii're Q!' He was practically the only man 

l Pompeii! I was rather amazed. 
STARLOG: To what do you attribute the 
longevity of Bond's popularity? 
LLEWELYN: Ian Fleming, when asked 

ibout writing his books, said to a successful 
novel add the elements of expensive living. 

Describe everything in minute detail. 
Describe beautiful people. Hide the idiosyn- 
cracies. Make everything move quickly. I 
asked [Bond film producer] Cubby Broccoli 
if he agreed and he said yes, but he went the 
Alfred Hitchcock route, adding exciting 
scene after exciting scene, and laughs to 
maintain the tension. I think the fact that the 
films are larger than life and that they are 
pure escapism is why they're so popular. 
Everything is bigger and larger than life. 
STARLOG: You've always said that From 
Russia with Love is your favorite Bond film. 
Are you pleased with the way GoldenEye 
came out? 

LLEWELYN: I think GoldenEye is a mar- 
velous Bond movie. It's got the humor. It's 
got the explosions. It's got the women. Pierce 
Brosnan, I think, is terrific. I think Golden- 

To many fans, Sean Connery, the first 007, 
was the best. Still, Llewelyn believes 
successor George Lazenby could have 
been good. 

Eye will bring the Bond series right back [to 
its former heights of popularity]. 
STARLOG: OK. so who is the best Agent 
007, Sean Connery, George Lazenby, Roger 
Moore, Timothy Dalton or Pierce Brosnan? 
LLEWELYN: My answer is always whoev- 
er you saw first is the best Bond. I think that's 
quite true. People who saw Conner)' first did 
not like Moore. They think Roger was too 
jokey. Moore fans think Connery is too 
tough. Connery was Bond. Moore was the 
Saint. Roger was able to turn the character 
around. All this nonsense about Roger not 
being able to act was, well, nonsense. He 
could act. He was a terrific technician, 
regarding how acting a scene worked. He 
was great at helping me get through lines that 
made no sense to me at all. He himself start- 
ed that joke that he only had two expressions, 

—who had great fun outfitting Roger Moore on six movie missions— defends the third 007's acting ability. 

ST ARLOGI February 1996 


Greeting the series' new cast member, Llewelyn is certain that Pierce Brosnan will be 
around for awhile as James Bond. 

but he was far better than that. Roger was 
also great fun to work with, always fun on the 

Lazenby? Poor old George Lazenby. On 
Her Majesty's Secret Service was such an 
underrated film. He wasn't an actor. It wasn't 
his fault, you see. He was a car salesman who 
did some modeling because he was broke. He 
said to me when I met him again a few years 
ago (at a gathering of Bond fans in England), 
"I searched for an actor [to talk to] after I got 
the Bond role." The bigger problem was that 
he behaved badly on the set. He thought 
that's how an actor was supposed to behave 
after reading about what people like Frank 
Sinatra were getting away with. He could 
have been a very good Bond, I think. 

Timothy Dalton is a very good stage 
actor. Many people complained about his 
Bond, but he was actually the closest to the 
Bond that Ian Fleming wrote in his novels. 
Now we have Pierce Brosnan and I think 
he'll be one of the top Bonds. Comparing 
Sean to Pierce is interesting. There's really 
no comparison. Sean was good in his debut 
as Bond, but Pierce has had so much acting 
experience and he's actually better in his first 
Bond film than Sean was in his. Sean was 
great by his third film, but Pierce is quite 

good the first time out. I'm sure he'll be 
around a while. 

STARLOG: Do you believe that James 
Bond is still relevant in the 1990s? 
LLEWELYN: Yes. I do. As long as they 
keep to the Bond formula, Bond will remain 
relevant. The further away you get from the 
formula, which they did in Licence to Kill. 
for example, the bigger the difficulties you'll 
face. The villain in that film [Robert Davi as 
a brutal drug lord] didn't work within the 
Bond formula. He wasn't from SPECTRE or 
SMERSH. If they had at least said that he 
was part of one of those organizations, he 
might have been acceptable. He was a real 
nasty piece of work from South America, but 
he just wasn't connected to some Bond-like 
group or place. Licence to Kill was a mar- 
velous film, but other than having James 
Bond in it, it wasn't really a Bond film. I. of 
course, liked that film a great deal, because I 
had more to do in that one than in just about 
any other Bond film, which was nice. Most 
of my scenes were with Carey Lowell, who 
was easy to work with and extremely nice. 
STARLOG: Let's talk about Q himself for a 
few minutes. Have you ever devised a back- 
story for him? What do you think he was up 
to before he joined MI6? 

tf It wouldn't be a Bond film without a Q 
§ scene — and the chance for a bit of 
° repartee with 007 about exploding bolos 
I or other infernal devices. 

LLEWELYN: I always saw Q as a man who 
had been in the Guard's Armor Division dur- 
ing the war. In the Fleming novels there was 
no~Q. There was a Major Boothroyd [who 
was first introduced in the novel Dr. No]. 
And Boothroyd. I believe, was based on a 
real man named Fraser Smith. He did exact- 
ly what mv character does, but he did it for 
real during World War II. I think he was a 
farmer at one time, but he was pulled into the 
intelligence realm during the war. 
Boothroyd. or Q. doesn't really invent any- 
thing. He collects things and improves upon 
them, or puis them to new uses. 
STARLOG: Is it true that you are as entirely 
hopeless with any kind of gadget as Q is nim- 

LLEWELYN: Unfortunately, yes. I'm no 
expert. I'm just an actor, you see. I can put up 
wallpaper, but I can't do too much beyond 
that. I just have to know my lines to play Q. 
Mv talking to you now has nothing to do with 
my acting ability, but everything to do with 
the gadgets in the movies. The gadgets in the 
moviesare great. They're prototypes of what 
the inventor would really like them to do. So, 
I like the gadgets. It's quite interesting, actu- 
ally, because people assume I'm good with 
gadgets. But almost every gadget goes wrong 
with me. I can't get into a hotel with those 
plastic keys. They never work for me the first 

STARLOG: In this sometimes unforgiving 
era of "Out with the old and in with the new," 
are you surprised that your phone rang with 
the offer to appear in GoldenEyel 
LLEWELYN: To be honest, I was very sur- 
prised. They're not using Lois Maxwell as 
Moneypenny anymore. Bernard Lee is gone 
[he died in 1980] and Dame Judi Dench, who 
is a marvelous actress, is playing M now. 

38 STARLOG! February 1996 

r-e> probably should have replaced me< 

■B ago. Q has certainly passed his retire- °! 

ent age. But I'm thrilled that they did call f. 

e tor GoldenEye, and I'm happy that I got S 
| '*ork with Pierce in it. § 

^TARLOG: Other than your salary, what^ 
■c vou still getting out of playing Q in the -| 
Bond films? " I 

LLEWELYN: I think he's great fun. In a| 

y, Q is a very insignificant part of the | 
Qms. from the point-of-view of the produc- § 

m people and the screenwriters. That was | 
specially so early on, when Q was less well « 

garded than he is now and not popular yet o 

audiences. What's nice is that people | 

dow seem to feel you can't have a Bond film g 

■aithout Q and a Q scene. That's quite nice J 

far me. of course. 

-TARLOG: If GoldenEye is enough of a hit. 
ibe word is that the next Bond movie could 
begin filming as early as this summer. Would 
•t be safe to assume that 
J ou would like to be a '■""I 
pan of that project? 

LLEWELYN: It would be very safe. I would 
like to be in the next one and. if I am, I would 
especially love to have a scene, a few 
moments with Judi Dench. She's such a bril- 
liant actress. Still, I've got to talk to the pro- 
ducers. I think we have to prepare the public 
for the next Q eventually. I think GoldenEye 
will take off and bring Bond all the way back. 
That could mean several more films. But I 
am 81. I've got a dickey heart. I can't live for- 
ever, you know. So, there may come a day 
when I will pass the torch onto the next Q. 
STARLOG: Aside from the Bond films, 
what else would you like to be known 
for as an actor? 

LLEWELYN: I've done nothing, 
really, worth speaking of. I wouldn't 
call myself unsuccessful, however. 
I've done a lot of television roles and 
some films. I'm a small part actor. 
You [Americans] might call me. 
what is the phrase... a character 
actor. I did masses of films playing 
just one line. I was in Cleopatra. I 
had a decent part in They Were Not 
Divided. I did a children's series 
called Follyfoot for several years. 
But if it hadn't been for Bond, I 
don't know if I would still be get- 
ting any work at all. So, you will 
not hear me complain about play- 
ing Q for all these years. Why am 
I flown all across the world [on 
behalf of GoldenEye] to talk about 
an imaginary character? It's quite 
incredible. I've been in 15 of the 
films. That's about 32 hours of film. 
I have been on screen as Q about 32 
minutes of that time. Yet, here we 
are talking. Quite incredible. I think. 

Far past retirement age, Llewelyn 
believes there will come a day to 
pass the torch (and the gizmos) 
on to another Q. 

STARLOG/ February 1996 39 

Superman & friends 
always start the day 

with a balanced 
breakfast heavy on 
the sugar. 


In the early 1930s, superheroe; 
began to zoom across the elec 
tromagnetic spectrum, destroy- ' 
ing evil and pitching cereal. Batman 
and Robin made special appearances 
on the Superman radio show spon- 
sored by Kellogg 's. Newsboy 
Billy Batson uttered the magic 
word "Shazam!" to trans 
form himself into the 
"World's Mightiest 


CRAWFORD are the authors 

of Cerealizing America: The 

Wr Unsweetened story of American 

Breakfast Cereal (FF Books, 

$24.95). This article is an excerpt 

from their acclaimed book. 

'40 STARLOG/ February 1996 

V Captain Marvel, who joined 
^f Ibis the Invincible. Crime 
^^ Smasher and Golden Arrow in 
pitching Wheaties. The Green Hornet, 
the Lone Ranger's great-nephew, and his 
loyal manservant Kato came to the aid of 
General Mills by offering a glow-in-the-dark 
Secret Seal ring that drew more than half a 
million responses. 

Buck Rogers was one of the first cereal- 
pitching space men. Cream of Wheat began 
to sponsor his adventures in the 1930s, and 
by so doing became one of the first compa- 
nies to become embroiled in that seemingly 

endless violence-in-the-American-media 
controversy. Parents were shocked as their 
kids listened to Buck Rogers zap his ene- 
mies with his death ray. As Fortune 
magazine reported. "With little lis- 
teners demanding stronger and 
stronger meat and parent 
groups demanding the oppo- 
site, the company got off 
the air in 1936.'' Cream 
of Wheat pulled their 
sponsorship of 
uck Rogers in 
favor of much 
less contro- 
versial pro- 

gramming — weather 
reports. Years later. 
Kellogg's began to 
sponsor Buck's "25th- 
century thrills and adven- 
tures" and his plugs for 
Pep!, "the peppy cereal." A 
post-World War II campaign 
for Post Toasties featured Buck 
f standing next to a mushroom 
'cloud and the quite memorable 
words "Buck Rogers — beyond the 
Atom Bomb." 

Tom corbett' s Patrol 

was television that launched cereal- 
selling space men into the stratosphere. 
"Television has the impact of an atomic 
bomb." wrote advertising executive William 
Morris in June 1949. As the TV bomb 
exploded over America, breakfast cereal 
executives scrambled to take advantage of 
the awesome sales power unleashed by the 
new medium. "If. as many believe, television 
assumes a powerful cultural role, the pro- 
gram can do more than sell." wrote the Kel- 
logg News in the days of early video, "it can 
make millions of close friends for Kel- 

kellogg's and other advertisers realized 
that they would have to spend millions to 
make television friends. Total television ad 
revenues jumped from $12.5 million in 1949 
to SI 28 million just two years later. "Televi- 
sion, as a medium for sales demonstrations 
right in the customer's living room," 
observed the Kellogg News, "is a gold mine 
for manufacturers of quality products." 

While many of the programming and 
marketing techniques originally developed 
for radio were applicable to the new medium, 
television was in many ways a whole new 
ball game for ad agencies, sponsors and net- 
works. "Nobody knew what the hell they 
were doing!" laughs Max Bryer, a commer- 
cial director for the ad agency Benton & 
Bowles. "Most of the fellas were flying blind 
because there was nobody you could go to 
and say. 'Well, how did you do it?' " 

Kellogg's ad agency, the New York-based 
Kenyon & Eckhardt. launched The Singing 
Lady, the first TV show sponsored by the 


I Video 


IN TWS »«??.* 

;ereal maker, in early 1949. In summer 1950. 
executives from Kenyon & Eckhardt traveled 
:o Battle Creek with an idea for a new pro- 
gram. The pitch was for a show about 
space — just the thing, the admen argued, to 
move a vast pay load of Kellogg 's standards 
ke Pep!. Corn Flakes and Raisin Bran into 
tie giddy weightlessness of high-volume 

The company bit on the idea, and paid for 
television production costs as well as airtime 
on CBS. In October 1950, "the greatest name 
in cereals" rolled out Tom Corbett: Space 
Cadet. Loosely based on a 1948 Robert 
Heinlein novel, the series was set in 2350 
A.D. at the Space Academy, USA. There, 
young men and women trained hard to 
become Solar Guards, an elite group of space 
police who patrolled the solar system wear- 
ing the Space Cadet uniform with its mas- 
sive, patented studded collar. 

By the second week on the air. Kellogg 
knew Tom Corbett was a huge hit. '"Disk 
jockeys were picking up our phrases like 'Go 
blow your jets,' 'Don't fuse your tubes' and 
'Spacemen's luck,' " recalls Frankie Thomas, 
who played the lead cadet. 

Like many other programs of the prehis- 
toric video era, Tom Corbett was produced 
live, casting ample opportunity for flubbed 
lines, missed cues and mix-ups. "I would be 
walking on one of the moons of Jupiter in a 
storm with the fog machine working like 
mad and confetti flying around me, and a 
camera would go out," remembers Thomas. 
"The floor manager would be .-- 
waving and pointing to the other / *\ 
camera — 'Turn and head into ^^ri\ 
that!' " At pivotal breaks in / ■■*** 
the action. Tom would 
splash some milk in a 
bowl, wipe the sweat 

from his brow and tell his audiences that 
"Pep!, the build-up wheat cereal" was "a 
welcome change from food capsules." 

Kellogg was intrigued by research which 
showed that the program, though aimed at 
kids, had a large adult audience as well. "I 
guess they're all working in the space pro- 
gram now," laughs Thomas. "I've had letters 
from people down in Florida and Texas say- 
ing, 'This is how I got into this. I used to 
watch Tom Corbett.' " 

Captain video's Ride 

Late in 1949, the New York-based Benton 
& Bowles agency sold Kellogg competitor 
Post on Captain Video, the adventures of a 
brainy inventor and his Video Rangers, a 
squad of young do-gooders who battled 
galactic evil in the 22nd century. The pur- 
chase of airtime for the program on the 
now-defunct DuMont television network 

STARLOG/ February 1996 41 


Free inside! Nabisco heralds the invasion of plastic 
Spoonmen from outer space. Collect all three! 


was heralded in Advertising Age as "the 
biggest piece of business garnered by 
DuMont to date." 

Captain Video blasted off every week- 
night at the dinner hour, as Richard Wagn 
er's overture to The Flying Dutchman 
blared in the background, and Morse 
code beeps spelled letters out across the 
screen. As the suspense deepened, the 
announcer intoned "P...O...S...T... 

Get yours first for a dime and 
a boxtop! From Battle Creek 
Michigan, it's Flying 


. 'P...O...S...T...The cere- 

i als you like the most! The 

cereals made by Post.. .take 

you to the secret mountain 

retreat of Captain Video!" 

The program was clas- 
sic cheese — so underfund- 
ed by Post that it was 
considered camp even in 
the early 1950s. Hailed by 
the New York Times as "a 
triumph of carpentry and 
wiring rather than of writ- 
ing," the show chronicled 
the victories of Captain 
Video over Nargola. Mook 
the Man, Dr. Clysmok. 
Heng Foo Seeng and vari- 
ous space outlaws, played 
by Ernest Borgnine, Tony 
Randall, Jack Klugman 
and other young actors. 
The "Guardian of the Safe- 
ty of the World" defended 
the universe with a daz- 
zling array of gadgets 
including the remote tele- 
carrier, the radio scillo- 
■ graph and the cosmic ray 
vibrator, all created with a 
special FX budget of $25 a week — for 
five shows. One recidivist was sent screaming 
to his fiery reward with a blast from the trusty 
opticon scillometer, a device one observer 
described as "a length of pipe with spare parts 
bolted on." 

Before fading to black. Captain Video 
spawned a flying saucer ring and millions of 
inch-high ""space men" who inhabited spe- 
cially marked boxes of Post Raisin Bran. 
Eclectically costumed in Robin Hood 
tights, ear muffs and beaked welder's hel- 
mets, the little mottled plastic figures 
looked like refugees from an Animal 
House party. After the invasion of the 
"space men," "all the [in- pack] premiums 
were put in separate bags in with the 
cereal because one broke a 
tooth," recalled a cere- 
al salesman. 


Meanwhile, out in LA, Mike Mosser was 
peddling a different SF show to local TV sta- 
tions. Mosser told Time magazine that the 
idea for a kiddie space opera came to him 
while he was flying across the Pacific. "It 
started me wondering and thinking about the 
universe." mused the WWII Air Force vet. 

Space Patrol premiered in September 
1950 over footage of a rocket model bub- 
bling exhaust smoke as it followed its pull 
string out of an Art Deco bathtub. The pro- 
gram was sponsored by Ralston Purina and 
produced on a schedule so tight it was dan- 
gerous. In one episode, lead space patrolman 
Buzz Corey was tied to a tree, facing an 
Amazon's crossbow, when the stage weapon 
accidentally fired. "It missed my head." 
laughs Ed Kemmer. who played Corey. "It 
landed about three feet directly below!" 

Space Patrol's Trek 

The show's announcer. Captain Jack, was 
performed with cheerful precision by Jack 
Narz. who went on to host Beat the Clock and 
Concentration. Narz also pitched cereal on 
occasion. "The thing I remember most about 
the commercials was the importance attached 
to doing them exactly word for word," the 
actor recalls. "For instance, the copy would 
read. "A great breakfast with Rice Chex will 
give you "Go Power" to last all day.' The key 
word was "with." You could not say, 'A great 
breakfast of..." In other words, we were not 
saying that the cereal gave you the "go 
power" but rather that great breakfast of eggs, 
bacon, toast: milk and cereal gave you the 
'go power." There is always one word buried 
somewhere in the copy that changes the 
whole meaning." 

Space Patrol took cereal commercials to 
new heights. The Gardener agency wove 
pitches for Chex and Hot Ralston right into 
the show's storyline. In "The Case of the 
Giant Marine Clam." for example. Prince 
Baccarratti. alias the Black Falcon, hand- 
cuffed Commander Corey and tied two of his 
crew members. Carol and Happy, in a tank 
filling fast with water. "Do you talk, or do 
Caror and Happy try to breathe water?" the 
Prince threatened Buzz. Before he could 
answer, the Commander broke for a commer- 
cial with crew member Happy. Seated under 
a "Space Patrol Galley" sign, the two gulped 
down brimming bowls of Rice and Wheat 
Chex and speculated that their chances of 
escape were excellent, thanks to their regu- 
lar Ralston habit. Before slipping back 
into the water tank for the program's 
exciting conclusion, Happy urged his 
audience of more than six million 
viewers to "Charge up with Chex for 
Fun Power. You'll agree they're 

"Superific" Space Patrol premiums 
offered for boxtops and small change 
included a space helmet, a glow-in-fhe- 
dark decoder belt buckle, a space-o- 
phone and the Space Patrol Lunar Fleet 
Base, a cardboard punchout layout that 
transformed an Eisenhower-era living 
room rug into a 30th-century space port. 
The premium was so popular that Ral- 

ston Purina couldn't meet the demand and 
had to send consolation letters out to disap- 
pointed fans. "Hope you'll except my apolo- 
gy, and keep this photo of the Space Patrol 
gang as a souvenir," read the correspondence, 
signed Buzz Corey. 

In 1952. Ralston Purina commissioned 
the Standard Carriage Company to build a 
full-sized rocket ship to promote its daily 
Space Patrol. The 35-foot "Ralston Rocket" 
was constructed from 20-gauge steel sheets 
riveted to oak ribbing, and mounted on a float 
bed for a total cost of more than $40,000. For 
two years, the rocket toured the USA, park- 
ing in front of supermarkets to the delight of 
countless young space patrollers, who waited 
hours to wiggle through the cockpit packed 
with a repeller, astro-radar and two-way 

The next year, Ralston ordered a second 
rocket to be given away as the first prize in 
the "Name Planet X" contest. Instead of a 
warship, the second rocket was the ultimate 
clubhouse, complete with eight fold-down 
beds, a kitchen and dining room. Out of mil- 
lions of entrants, 10-year-old Ricky Walker 
of Washington. Illinois won the contest with 
the name Caesaria. The five-ton rocket was 
delivered to his doorstep on January 14, 
1954. Ricky enjoyed his dream-come-true 
for only two years, before his family sold it to 
a traveling carnival. Some 25 years later, the 
rusted hulk turned up in a weedy lot outside 
of Albany. New York, only to disappear again 
in 1990. "It was unbelievable," says Ralston 
memorabilia collector Dale Ames. "If there 
are seven wonders of the world, this was the 
ninth or tenth." 

Captain Midnight's Trip 

General Mills entered the video space 

race in 1954, co-sponsoring the popular 

program. Captain Midnight. The 

descendant of radio hero Captain 

| Albright, a WWI flying ace. Captain 

Midnight was a hardened, steel-eyed 

warrior dedicated to ferreting out 

Complete your Strato Helmet by 
gluing the helmet face piece on 
a Pick a Pick Package. Don't 
forget to cut out the eye slot! 

tSTARLOG/F^fruary 1996 


Communist leeches sucking the life blood 
from the Free World's young arteries. TV 
Guide described it as "a violent series with 
gallons of gore." 

The role was played to perfection by 
Richard Webb, a hard-fighting WWII veteran 
who was the lead in the Cold War classic / 
Was a Communist for the FBI. Outfitted in a 
suede bomber jacket, silk scarf and crash 
helmet, the ultra-American headed up the 

_Ji . »^ Squadron. 

<<*,,,. l>i> On*, N. ill. Hu i'ii 

■r - :-t I H. -. ■■;- ,■■-[!■ "-1 

. I 1 .-.-. Mt < 

use rm coopoh today !-> 

*^ c WHO 



recruits to "Jet up and go with Sugar Jet." The 
"Major Jet" shtick was so successful that more 
than six million young Americans bought 
"Major Jet" magic goggles from toy stores. 

The National Biscuit Company sponsored 
its own airborne show, Sky King. Set in the 
contemporary West, the program tracked the 
adventures of a rancher who solved crimes 
from the cockpit of his small airplane. Sky 
Bird, a twin-engine Cessna. Grant Kirby, the 
real-life pilot who portrayed Skylar King for 
a salary comparable to the industry standard 
of S300 per week, was eager to emulate the 
marketing success of his predecessor. Major 
Jet. The high flyer submitted sketches and 
prototypes of model planes. Geiger counters. 
shins, pistols and other toys to the spon- 
sor — which turned down each of his plans to 
make money off his video persona. "I don't 
know why." sighs the actor. 

In 1952. legendary Chicago-based ad 
man Leo Burnett won the entire Kellogg 
account from Kenyon & Eckhardt. Burnett 
braaaed that he and his associates were 



Hey, kids! Look! Your official Tom Corbett 
Space Goggles are only 35c and one 

a hush-hush platoon of McCarthyite vigi- 
lantes dedicated to rooting out spies, har- 
nessing volcanic energy and making the 
world a better place to enjoy "Kix. the 
crispy corn cereal that's 83 percent energy 

That same year, Gen- 
eral Mills chose anoth- 
er para-military hero 
to boost sales of Sugar 
Jets, a presweetened 
cereal introduced dur- 
ing the Korean War. 
Major Jet was a fictional test pilot, pre- 
sented in both live-action and animated 
form, who linked the cereal's sugary- 
taste with the exhilaration of fighter jet 
afterburners, urging his young 

Made of colorful plastic, 
Shredded Wheat Juniors' 
Tobor, the Mystery-Action 
Robot, is completely 

Television really launched cereal-selling 
spacemen into the stratosphere. Boys 
and girls, it's terrific! 

"working stiffs" who spat on their hands 
before getting down to work with big, black 
pencils. He described the key to good adver- 
tising as the ability to capture the "inherent 
drama" in any product. Characters created by 
Burnett's agency — including the Jolly Green 
Giant, the Pillsbury Doughboy and Star- 
Kist's Charlie the Tuna — added personality 
to the selling points. The character that Leo 
Burnett chose to champion the cause of Kel- 
logg's Corn Flakes was none other than 

Superman's Flight 

Created by Jerry Siegel and Joe Shuster 
and first published in the June 1938 issue of 
Action Comics, America's Man of Steel 
moved onto Mutual Radio in the early 1940s. 
in a show co-sponsored by Kellogg. After 
dropping that sponsorship in the late 1940s. 
Kellogg continued its "neverending battle for 
truth, justice and the American way" on tele- 
vision in 1953. 

44 STARLOG/F<?Zw\ 

fast food "with deep-down sweetness and 
vitamins to give you the power of an earth- 

While Quake brought brute strength to 
the table — he once broke a granite cliff with 
his head — Quisp was agile and brainy. He 
defeated a giant ball of yarn by knitting it 
into a necktie 87 miles long. The focus of 
their "quazy" conflict was deciding who rep- 
resented the better cereal. An '"earthquake- 
powered cereal," the miner belched, "Quake 
is best!" Quisp flitted into the scene and 
chirped. "For quazy energy.. .Quisp is best!" 
The announcer, usually Paul Frees, invited 
viewers to decide: "Take sides with 
either — two new cereals from Quaker, sort of 
a breakfast feud." 

To launch the product in supermarkets. 
Quaker pulled out all the stops. "When we 
first came out with them, we had these little 
pink helmets with a spinner on top like an 
airplane and you put a couple of batteries in 
it." recalls Stan Austin. "We had those as pre- 
miums to the grocer. In other words, if he 
would buy five cases, we would give him one 

12 Tom Corbett rings of the future. Wear 'em! 

Starring George Reeves, once the light 
heavyweight wrestling champion at Pasade- 
na Junior College. The Adventures of Super- 
man actually began production in late 1951. 
Explaining the character's appeal. Jack Lar- 
son, who grew out of the role of Jimmy Olsen 
to become a successful writer (STARLOG 
#130), says, "He is the alien that embodies 
our goodness." 

Kellogg paid for production of the series 
with a bite-sized budget. To create the 
famous flying sequences, director Gordon 
Minter put Reeves in a harness, hoisted him 
up in the air on invisible wires and turned on 
a wind machine. Footage of the windswept 
superhero was used as much as possible to 
fill time. One observer wrote. "In one 
episode, Superman changed direction while 
flying, which was accomplished by simply 
turning the film around — making the S on his 
uniform backwards!" 

Despite flying under a low budget. Super- 
man became an extremely popular character 
and a powerful flake salesman. Some of his 
most memorable spots were created for the 
"Better get a spare" Corn Flakes campaign in 
1955. In one spot, Clark and Jimmy sat down 
to breakfast to find their Corn Flakes box 
empty. Clark suggested that Jimmy run down 
to the store to pick up a new box. Glancing at 
his watch, Jimmy announced there wasn't 
time, "Who do you think I am. Superman?" 
Clark shook his head knowingly, removed 
his glasses and disappeared down the hall 
pulling at his tie while Jimmy groused. "Out 
of Kellogg 's Corn Flakes, fine host he is!" 
After a brief scene of Superman flying 
through clouds, the whistling wind, fluttering 
curtain and sudden appearance of a new Corn 
Flakes box signaled the Man of Tomorrow's 
miraculous intervention. The announcer 
intoned, "Even if Superman did deliver Kel- 
logg's Corn Flakes, he'd have a tough time 
keeping everybody happy." 

"The funny thing about it," Larson says, 
"is that when they asked me to do the com- 
mercials. I was very happy because I hap- 
pened to eat Kellogg's Corn Flakes. So it 
wasn't a lie to do the commercials." What 
made Larson even happier was that he made 
much more money doing the commercials 
than doing the actual show. Noel Neill, who 
played Lois Lane during most of the series, 
never got a piece of the cereal commercial 
work. "They didn't ask her to do commer- 
cials, on the basis that they were all early- 
morning things and it would look unseemly 
for her to be at Clark's house in the morn- 
ing." remembers Larson. "But they didn't 
mind if Jimmy and Perry spent the night." 
Makes you think. 

In 1957. Kellogg dropped out of the 
show. In June 1959. the actor was found dead 
from a gunshot to the head. Some suspected 
foul play, but the coroner called it a suicide. 
"Most people would look at him and say, 
'George, we can't cast you because you're 
Superman,' " recalls Burnett director Gordon 
Minter. "I think that really bugged him." 

Quisp's Journey 

One of the most popular space-aged cere- 
al salesmen recently was a little blue alien 
named Quisp. In 1965. Bill Scott, the partner 
of Jay Ward and co-creator of Bullwinkle. 
gave birth to two dueling cerealebrities for 
Quaker Oats. One half of the team was 
Quisp. a propellor-headed pink alien voiced 
by Daws Butler, who championed "the 
biggest-selling cereal from Saturn to Alpha 
Centauri." Quisp's rival was Quake, a 
spelunking superhero in a hard hat and log- 
ging boots whose brawny arms and chest 
enabled him to swim at terrific speeds 
through bedrock, particularly when angry. 
Voiced by Bill Conrad, who also narrated 
Rockx and Bullwinkle. Quake came from the 
center of the Earth, where he made his break- 

Forget that also-ran, Quaker rival Quake. 
"For quazy energy, Quisp is best!" 

of those hats. And, of course, they would 
want to buy 10, because they had two kids." 
A Quake battery-operated miner's helmet 
was also offered. 

Though the two cereals tasted virtually 
the same. Quake sales lagged far behind 
Quisp. "Quisp had more things going for 
him. He was light and happy and joyful and 
such. Kids liked him better than Quake," says 
Mike Barna, Quaker package designer at the 
time. Speculating on Quake's unpopularity. 
Max Lomont observes, "It's fairly difficult to 
make somebody who comes out of the Earth 

With the final demise of his arch-rival 
Quake. Quisp continued to fly high, carrying 
the banner of SF cereal boxes onward. "A lot 
of people have tried to kill Quisp. but he sur- 
vives," says Lomont. "He refuses to die." -^ 

STARLOG/ Febmaiy 1996 45 

Now that Pavel 

Chekov is gone, 

Walter Koenig 

relates his 


The final curtain has come down on the 
career of Star Trek's Pavel Chekov. 
And Walter Koenig won't be losing any 
sleep over that fact. "I know Star Trek is over 
for me and I'm very comfortable with that." 
explains Koenig. "If somebody came back to 
me and said we're going to do another movie 
or a series of specials. I would probably have 
a hard time turning it down. On the other 
hand, I'm not envious of the current Star Trek 
productions. Certainly I have less of my 
career to look forward to then I have already 
experienced. But I would love the opportuni- 
ty to use the time left to go on and do other 

Koenig is currently taking steps toward 
"other things." He recently completed the 
low-budget film Drawing Down the Moon 
and is portraying the villainous Bester on a 
semi-recurring basis on TV's Babylon 5. The 
actor has a role in the ground-breaking CD- 
ROM game Maximum Surge (see page 48). 
He is also at work on his autobiography and 

has written new Raver comic book stories 
which will be published in trade paperback 

"At this point in my life, I tend to look at 
things with a certain sense of adventure. The 
fact that something is new makes it an 
appealing challenge to me. I'm definitely 
looking for new creative expressions, but the 
reality is that, post-Star Trek, I have to make 
sure I can maintain a certain standard of liv- 
ing. Work is work, so anything that isn't 
morally reprehensible or ethically question- 
able, I am pleased to take a look at." 

Koenig has been taking a long hard look at 
Babylon 5. His character has appeared in three 
episodes and the actor reports that "I've been 
promised two more episodes this season. 

"I'm not the stereotypical villain on 
Babylon 5, so playing Bester has been a won- 
derful opportunity to delve into character. 
He's not simply a bad guy twirling his mus- 
tache and cackling in an evil way. There's a 
lot of dimension and depth and a certain 

ambiguity to the character. He has the ability 
to appear more forthcoming than he actually is." 

Koenig offers that he is loathe to go back 
to the television grind, but Babylon 5 could 
be a potent hook for his return to the small 
screen. "I love this character so much, I 
wouldn't mind playing him on a little stead- 
ier basis. I would welcome the opportunity to 
play him more frequently, but I don't know if 
I'm prepared to go back to 22 episodes a sea- 
son of anything." 

In Maximum Surge, Koenig plays Drexel, 
a power-mad scientist intent on populating a 
post-apocalyptic world with androids. "It 
was just like making a movie, except that I 
had to say most of my dialogue directly into 
the camera and we had to shoot a lot of dif- 
ferent alternatives to every scene for the dif- 
ferent skill levels of the game." 

On the literary front, Koenig is currently 
90 pages into his autobiography, Beaming 
Up and Getting Off (which follows his 1979 
memoir Chekov' s Enterprise). He's candid in 

46 STARLOG1 February 1996 

noting that the road to publication has been a 
bumpy one. 

"We submitted my book to publishers 
around the time all the other Star Trek books 
were coming out and the initial response to 
all those other books indicated they would 
not be bestsellers. The determination was 
that the market for Star Trek biographies was 
becoming saturated and that the advances 
being offered for those books were not being 
realized in the number of books sold. I know 
Leonard Nimoy's book [/ Am Spock] is not 
selling as well as anticipated. Consequently. 
it's taking a little longer to find a publisher." 

But Koenig. who speculates that his entry 
will soon have a publisher and will be out 
sometime this fall, says his book will be dif- 
ferent from those Trek bios that have preced- 
ed his. 

"I think my book will be very personal, in 
terms of who I am. the psychological orienta- 
tions I have, how being an actor has ^ 
me and the crazy experiences that I've had." 
he explains. ""I like to think that I ha . 
amazing capacity to remember all those 
bizarre events — like the time I was in a pro- 
ducer's office pitching a story and. suddenly. 
he had an out-of-body experience right in 
front of me. 

"Some of the Star Trek stuff w ill be hard 
to write at this point." he continues. "Like 
everybody else. I think we all have pro 
lems remembering the series days 
in great detail. I haven't gotten 
to the Star Trek stuff yet. but 
I'm pretty sure I can write 
in great detail about the 

Koenig returns to the 
world of his comics 
creation, Raver, in a 
brand new graphic 
novel now on sale. 

movies. I think people are going to be able to 
relate to who I am, which is a very ordinary 
person who got very lucky. But along the 
road to getting lucky. I fell in all the potholes 
that life had for me." 

Koenig continues to develop new acting 
chops in Drawing Down the Moon, in which 
a witch practicing white magic turns an Elks 
Lodge into a homeless shelter. "I play some- 
what of a villain, in that my character is hy- 
ing to figure out the reason for the chaos 
being caused by the witch. I knew this would 
be a small film going in. but I did it simply to 
play a contemporary character in a contem- 
porary story. Like everything else I do these 
days, it was an adventure for me." 

The actor once again turns writer with the 
publication of a trade paperback continuing 
the adventures of his creation, the Raver 
(STARLOG #190). 

"This is a two story prequel to the three 
books I did for Malibu," says Koenig. "We 
learn why Norman Walter's ended up being 
chosen to have this gift and the background 
of his universe. In the books I did for Malibu, 
the Norman Walters stories tended to book- 
end the adventure. In this story, Norman's 
story is interwoven with the Raver's story. 
They're both dealing with having to resolve a 
series of conflicts and I think these stories 
will answer many questions that people who 
read the previous books have." 

Currently, Walter Koenig has "nothing 
immediate coming up." But he's not overly 
concerned about the momentary work lapse. 
"I'm confident that other things will be com- 
ing my way and I'm looking forward to 
whatever the new adventure is for me. 
Because, at this point, I feel that it is impor- 
tant to experience as much as I can." 


STARLOGIFebruary 1996 47 

Spice Williams' husband has gotten used 
to his wife's unusual acting and stunt 
assignments. But he was absolutely 
thrilled when he discovered his spouse was 
playing an armed and dangerous futuristic 
heavy in the CD-ROM adventure game Maxi- 
mum Surge. 

"He said, 'Now, whenever I'm pissed off 
at you, I'll just put the game in and blow you 
away." " laughs Williams. 

Walter Koenig isn't worried about his wife 
using his super-heavy Drexel in Maximum 
Surge for 
target prac- 
tice. If he's 
laughing at 
all. it's at his 
own lack 
expertise with 
computer games. 
"I've never played a 
computer game in my life. I 
don't have a clue as to how Max- 
imum Surge works. I've been 
told that, if you're a very good 
player, you can complete the 
entire game's objective in about 40 
hours," he exaggerates. "If that's the 
case, it will probably take me forever." 

Maximum Surge, directed by William 
Mesa and starring Koenig, Williams and Bay- 
watch's Yasmine Bleeth. takes place in a 
post-nuclear 21st-century world where 
power-hungry dictator Drexel (Koenig) is 
leading an assault on the Brokaw Territory 
(which contains the life-sustaining energy- 
force Dagan 12) with the ultimate intention 
of populating the world with androids. The 
player enters the fray when, in the introducto- 

You are the hero of Maximum Surge, a 
new SF CD-ROM from Digital Pictures, 
and Yasmine Bleeth is your mercenary 
sidekick, Jo. It doesn't get much better 
than this. 

ry portion of the game, he (or she) is hired as 
a mercenary to protect the Brokaw Territory 
and hunt down Drexel. The player is given a 
mercenary sidekick named Jo (Bleeth) and a 
futuristic ground cruiser called the 
Onslaught. Then it's off on a mission across a 
war-scarred desert, doing battle with ground 
and airborne enemies (highlighted by 
Williams' motorcycle-riding, gun-toting 
Attackborg) on the way to Drexel's lair and 
the final showdown. 

"You have this mission to complete," adds 
Maximum Surge producer Amanda Lath- 
roum, "but you only have a certain amount of 
energy and ammunition to do it with. This is 

48 SIARLOG/Februan- 1996 

not just a shooter game. There's a certain 
amount of skill involved." 

Maximum Surge, released by Digital Pic- 
tures in two different formats in December, 
boasts a 3-D design effect that allows for the 
player's visual perspective to change as he 
moves through the game world. And while 
the game is heavy on action and gunplay, the 
rating is strictly PG. The game was shot on a 
four-week schedule with an estimated S2 
million budget. Flash Film Works supplied 
most of the CGI and video FX that were 
added after the fact, but director Mesa proud- 
ly points out that most of Maximum Surge 
was shot against live settings. 

Storyline Surge 

Maximum Surge had its inception in the 
early '90s when, according to Lathroum, "the 
idea was to create a Mad Max kind of world 
that would totally involve the player." Cast- 
ing was a whole other story. 

"We weren't so much interested in name 
actors as we were in personalities," she 
explains. "We were looking for people who 
had a strong presence. It was a big world so 
we wanted to get big people to fit into it." 

"I think my role as Bester on Babylon 5 
had a great deal to do with me getting the 
part." relates Koenig. "They liked the idea 
that I could play a bad guy. They also obvi- 

ously liked the whole science fiction and Star 
Trek association." 

For Williams, the offer was a mixed bless- 
ing. "I got a call from the stunt coordinator 
saying that I would be just right for this. He 
said. "You're going to play this amazon 
leader with braids coming out of the back of 
your head.' I said, 'Cool.' Then, he said, 
'Well, you're going to be riding a motorcy- 
cle.' Not cool. You can throw me down a 
flight of stairs, beat me up and slam me 
against a wall, but I don't like motorcycles. 
But the part was so good, I did it anyway." 

For Bleeth, the inducement was much 
simpler. "I had three weeks off, they asked 
me and I said, 'All right, I'll do it.' The big 
attraction was the character. I had never 
played a tough female bounty hunter before. 
It was also a stretch because of the technolo- 
gy involved and the fact that this was a rela- 
tively new medium for me." 

Getting the right director for the FX- 
heavy Maximum Surge was shaping up to be 
a more demanding challenge. "We knew this 
was going to be a big show," says Lathroum, 
"and so we wanted somebody who could 
come in and give us what we needed." 

Enter Mesa, the veteran visual FX wizard 
who created the spectacular train wreck for 

Correspondent, is the author of The Long 
Run: The Story of the Eagles. He profiled 
Brent Spiner in issue #221. 

S7ARL0G/Februar\- 1996 49 

"You can throw me down a flight of stairs, 
beat me up and slam me against a wall, 
but I don't like motorcycles," Spice 
Williams states. "But the part was so 
good, I did it anyway." 

The Fugitive. Fresh from a recent directorial 
stint on the film Terminal Force, Mesa 
seemed to have a handle on what Maximum 
Surge would take. "All these games are char- 
acter-driven, but this game, in particular, had 
a tremendous amount of special FX. What 
they needed was somebody who could han- 
dle the massive special effects and integrate 
them with the live actors." 

But, despite his FX expertise, Mesa knew 
he was going to be a babe in the woods when 
this project finally kicked off. "I had never 
done a CD-ROM game before so I didn't 
know all the aspects going in. I knew only so 

much could be shoved onto a disc and that 
there would be countless repeats of the same 
scenes for different scenarios within the 
game. I couldn't walk onto the set saying, 
'OK, this is what I have in mind, let's see how- 
it works. I planned out each shot in advance 
so I knew exactly how many seconds each 
shot would be.' " 

The three principal actors all felt that act- 
ing in this new frontier would be very 
detailed and very taxing. For Koenig. who 
shot all his scenes over a three-day period in 
an underground lair, the biggest acting chal- 
lenge "was addressing most of my dialogue 
directly into the camera. 

"At various points in the game, I would be 
saying things like, 'Ha! Ha! You missed me!' 
or reacting to being shot. We were shooting 
different scenarios because, on one level. 1 

might not be shot but, on another, I might get 
hit. There was no place for subtlety or nuance 
in this project. It was just good guy vs. bad 
guy and for me. the fun in this was being 
taken seriously as a bad guy." 

Maximum Performance 

For ^ illiams. acting in Maximum Surge 
"was a whole new concept. I had to play this 
crazv. screaming, vicious Amazon leader, 
working this motorcycle and having to be 
constantly aware of the camera. Whenever 
you act. the first thing you remember is to 
never look into the camera. But here I was, 
suddenly, looking into the camera all the 
time. It was the same rush I got the first time 
I crashed a car." 

Her toughest test on Maximum Surge 
revolved around her discomfort with the 

se games are cnaracter-ariven, iviesa 
, "but this game, in particular, had a 
tremendous amount of special FX." And puss- 
faced mutants. 

motorcycle. "There was this scene in which I 
was coming out of a doorway on the cycle 
and rushing back through this tunnel area. 
Just before I went through the tunnel area, I 
had to turn and look back at the camera as 
I'm being shot at and say, 'Ha! You missed 
| me!' So, I did it, and said my line just as the 
;ycle hit thick sand and started wobbling. I 
as trying to hit my mark, say my lines, 
speed up on the motorcycle and to not slam 
into the wall. It was insane! 

"The fun thing is that I get killed about 20 
times in Surge because of the game's differ- 
ent scenarios," Williams continues. "They 
squibbed me all over the place. At one point. 
I get shot in the hand. In an alternative sce- 
nario, I get shot in the shoulder. In the 
sequence where I get blown up. they put 
squibs between my boobs that shoot out 

Bleeth had no training in being a lady ter- 
minator and literally picked up her role on the 
fly. "I had no time to train. They basically had 
to show me how to hold a gun my first day on 
the set. There was a lot of running, jumping 
and shooting and a lot of computer jargon 
that I didn't understand. I think I was a bit of 
a natural when it came to the phvsical stuff." 

"It was the same rush 

I got the first time l 

crashed a car." 

Mesa found the rigors of making a CD- 
ROM title an equally strenuous ordeal. ""The 
actors? They all knew their stuff. The big 
thing was getting them used to doing things 
over and over. One day we had a helicopter 
up shooting some footage for weapon beams 
to fly in on. We knew we had to keep the 
camera in a straight line, but suddenly the 
pilot saw this tree line coming up. Rather 
than cut the shot and try it again, he just went 
straight through the trees and cut the tops of 
ihem riaht off! 

'There was a lot of running, jumping and shooting." Bleeth recalls of her Surge shoot. 
'I was a bit of a natural when it came to the physical stuff." 

"We used the fact that we had to create 
different levels to give each of the bad guys 
individual personalities," Mesa continues. 
"As the player advances in skill, the bad guys 
become tougher and more gladiator-like and 
they do much more difficult routines and 

Everybody involved in the Maximum 
Surge project agrees that interactive CD- 
ROM titles are a definite wave of the future. 
William Mesa believes this is "shaping up to 
be real cutting-edge stuff. This is a medium 
that's going to grow." 

Spice Williams also sees the handwriting 
on the computer disc. As a union representa- 
tive, she was heavily involved in recent con- 
tract negotiations that would allow actors to 
benefit financially from this coming technol- 
ogy. "This is very viable, very lucrative and 
definitely the wave of the future. This is just 
another new dimension of our business. 

"And it's also fun thinking that I'm going 
to be in so many people's computers for years 
to come." she laughs. j^. 

STARLOG/ February J 996 51 



As Hercules' sidekick lolaus, Michael Hurs 
mines the mirth in the r 

It's not often that an actor gets to strap 
on a sword and battle the forces of evil 
alongside one of the greatest heroes of 
Greek mythology. For Michael Hurst, 
who plays Hercules' headstrong compan- 
ion lolaus in the syndicated adventure 
Hercules: The Legendary Journeys, it's a 
once in a lifetime opportunity to indulge 
his childhood fantasies and get paid for it. 
"This is everything I always wanted to 
do as a kid," enthuses Hurst, from his 
New Zealand office, not far from the stu- 
dios where Hercules is filmed. It's a beau- 
tiful Sunday morning in Auckland, and 
the actor has agreed to give his very first 
American interview to STARLOG. "'I've 
known the magazine for a long time, so 
this is a big thrill for me! 

"I've always been a fan of fantasy and 
SF," he continues, "as well as the epic 
films like Ben Hur and The Fall of 
the Roman Empire. I saw them 
when I was a kid. and 


One of New Zealand's top actor/directors, 
Hurst has appeared in more than 100 stage 
plays, as « ell as numerous film and TV roles. 
In addition to dozens of roles for Auckland's 
prestigious Theater Corporate. Hurst was the 
first New Zealand actor ever to be contracted 
to Australia, when he appeared in the Mel- 
bourne Theater Company's production of 
The Three Musketeers in 1987. His role as 
the brash D'Artagnan may well have been a 
foreshadowing of his later work in Hercules. 

Besides his wealth of acting experience, 
Hurst is also a highly accomplished stunt and 
fight choreographer, and a champion fencer 
— skills essential for a physically demanding 
project such as Hercules. "Firstly, all through 
high school and when I left, my sport was 
fencing. I was champion in the province I 
was living in. and I did karate as well. Prior 
to 1983. 1 had done a few Shakespeare plays, 
and directors would say, 'Who are we going 
to get to do the sword fight in Hamlet'V and I 
would say. T've done a bit of fencing; maybe 
I could do that.' so I did a little of that. 

"In 1983. 1 did a play which was entirely 
set in a wrestling ring — we're talking World 
Wrestling Federation wrestling, show biz 
w resiling. My agent in New Zealand, Robert 
Bruce, was a wrestler in his younger days, 
and he came in and taught us how to do it. We 
were doing incredible things, but what I real- 
ly learned from him was the skill of being 
able to remain in control while you're either 
throwing people through the air or being 
thrown through the air. I realized at that point 
that he was teaching me about discipline and 
creative fighting; how to keep a fight moving 
and make it flow. 

Behind every good man is. ..another good 
man. Michael Hurst's lolaus is one such 
man, battling alongside the Son of Zeus 
in Hercules: The Legendary Journeys. 


"Once I applied those principles, it 
became very easy to choreograph any plays I 
was doing if there was fighting. I learned all 
these techniques about how to take punches, 
how to throw them, and I just started to move 
into that. It's a string to my bow, but not the 
major string. If I do a play of my own. I never 
have to worry if it involves fighting. With 
Hercules. Peter Bell, our fight arranger, and I 
have these animated discussions about what 
we're going to do, and it's pretty easy to get 
the flow." 

Hurst's expertise as a fight arranger, cou- 
pled with two decades of acting experience 
made him a shoo-in for the role of Iolaus. 
The actor, well-known as one of New- 
Zealand's leading authorities on performing 
Shakespeare, says there wasn't a huge differ- 
ence between his classic Shakespearean roles 
and the larger-than-life drama of Hercules. 

"The way I got involved was almost out 
of the blue. I got a call from a casting direc- 
tor one day, who said, 'There's this role in 
Hercules, but it's a long shot,' because at the 
time, I think they were really looking to cast 
an American actor. Anyway, she said. "Do 
this audition.' She had stuck up for me. sav- 
ing I could do an American accent, which 
was important. 

"So, thinking, 'I'll give it my best shot." I 
turned up with one of my sprung steel dou- 
ble-handed broadswords — which is handy to 
have when you're doing this sort of thing — 
and I was looking pretty athletic, because I 
had been training. I did this audition, which I 
directed myself, and there were lines about 
monsters that if you didn't take seriously 
would never work. I took it so seriously that 
it became kind of humorous, and before I 
knew it, I got a call asking if I could meet 
with the director and producer. I remember 
walking into a room full of six. very tall 
Americans. We had a meeting, and finally 
they asked me to do the American accent. 
which I did, and there was a great sigh of 
relief all around, and I got the part."' 

Sidekick Plays 

All told. Hurst played Iolaus in two of the 
original Hercules movies, settling into the 
role as though he had been playing it for 

years. "I was in the first one and the fifth one, 
and if you look at the two together, you'll 
notice quite a marked change both in Kevin 
Sorbo and me. We had suddenly become 

In 'King of Thieves," Iolaus found himself imprisoned for the crimes of Bruce 
Campbell's wily thief and forced to endure a grueling series of trials. 

This is everything I always wanted to do 
as a kid,'' says Hurst, who's having a ball 
playing Hercules' scrappy sidekick. 

more mature somehow. I think we were feel- 
ing our way around in that first movie, and 
things changed: our costumes changed, 
things shifted a lot. When I did the fifth one, 
I was actually directing and playing Hamlet 
in the same production. The Hamlet compa- 
ny took a week off in the middle of 
rehearsals, and I went in and did Iolaus, so 
there was this brief period where there was a 
very serious, introverted Iolaus for a while." 
It almost goes without saying that the 
easy-going camaraderie between Hercules 
and Iolaus was one of the TV movies' major 
attractions. According to Hurst, he and Sorbo 
managed to click fairly quickly. "With the 
first two-hour movie, Hercules and the Ama- 
zon Women, we were getting feedback almost 
immediately that there was good chemistry 
between us. For my part, that was just doing 
the job: serving the hero. If you look after 
your hero, your hero will look after you. 
That's a very important principle. 

The trick to winning the role for Hurst? "I 
took it so seriously that it became kind of 

"I felt fairly comfortable with that, so 
there was really no competition between us. 
It was a very easy gateway for friendship. 
Kevin and I agree that there's a scene in the 
fifth movie where we do a little bit of dia- 
logue which we made up on the spot. It was 
then that it caught up with us and we caught 
up with it, and we realized, 'Hey, we can do 
this!' It was a scene involving a few one-lin- 
ers that we improvised and they were funny, 
and the crew and the director liked them, and 
since then we've really cemented that. 

"It became quite obvious to us in that par- 
ticular scene, and we do a lot of that now — 
we take what they write and we can work 
with it and adapt it slightly for our rhythms 
and sense of humor. In fact, they're starting 
to write that in now. We keep sensible about 
it, it's not like we change things ridiculously 

According to Hurst, his character's foibles make 
semi-divine companion. 

m more human, in contrast to I 

or unrecognizably, and we always go through 
the producer, but it's a light little touch. It's 
very easy for us to recognize when we sit at a 
read-through, Kevin and I will both sit there 
and we'll know that his character or my char- 
acter wouldn't say it that way, so it's very 
easy for us to lift that dialogue." 

When MCA TV transformed Hercules: 
The Legendary Journeys into a one-hour 
weekly series, it would have been foolish not 
to bring back the Son of Zeus' flamboyant 

However, because of his theater commit- 
ments. Hurst was only able to appear in six of 
the first season's 13 episodes. This year, he 
has put most of his other projects on hold in 
order to devote more time to the series. "As 
of this moment, I'm totally focused on Her- 
cules. Because I took several episodes off; I 
now have to do a lot of episodes, so it has 
been a happy arrangement. I sign on season 
by season with a guaranteed number of 
episodes, and w ; e just talk about it from there. 
I'm in at least 50 percent of the episodes this 
season, maybe more." 

Having spent a good part of the last few 
years in the sidekick's sandals, Hurst has a 
fairly good idea what motivates his character 
and what makes him special. 

"My first thought is that Hercules is the 
half-god/half-man hero, and people want 
heroes like that, like Superman: you can 
never be him. but you can look up to him. 
Iolaus is more of an everyman character, and 
every hero has that person by their side. I'm 
the one that can trip up and make mistakes, 
who can fall over and make errors in judg- 
ment. Those are human foibles that every one 
of us has, and we make those errors in judg- 
ment. It's just that when I make them, it usu- 
ally involves monsters, warriors or some 
terrible thing. That's a real identifying point 
for people. 

"The way I play Iolaus is absolutely hon- 
est and absolutely brave, and when you put 

f-iVftC.i s< 

those two together. I think his failing is that 
he sometimes doesn't think, so very often he 
pits incredible bravery against ridiculous 
odds. Just recently, we had this scene where I 
was being chased by all these warriors, and I 
finally come limping into town, and the first 
thing Hercules sa> s to me is, 'What have you 
done now ? " That gives it a comic turn as well . 
The essential elements of the show, and of 
both our characters, are truth, honesty and 
fighting for good. Let's face it, it is ultimate- 
ly a wholesome deal, and I think that's really 

Stunt workings 

Thanks to his own experience as a fight 
arranger. Hurst works closely with the 
show's stunt coordinator Bell to make Iolaus' 
fight scenes as interesting and exciting as 
possible. "Let me tell you. the stuntmen are a 
rare team, and you get to know them pretty 
well. In fact, there are a couple of them that 
I'm pretty much always paired against, and 
they look after me. They know my rhythms 
now. and so we get quite a few convincing- 
looking fights out of it." 

Sometimes the realistic-looking fight 
scenes come with a heavy price tag attached. 
Last season, a misjudged sword stroke put 
Sorbo in the emergency room with a head 
wound requiring several stitches, and even 
Hurst isn't immune to the occasional injury. 

"At the moment, I have a broken bone in 
my arm. It's just one of those things that hap- 
pens, and we've actually written it into the 
episode I'm doing. I'm wearing a very small 
cast, but it's so slight that you would hardly 
notice it. We dressed it up, and actually had 
Iolaus receive a broken bone, which is good, 
because one of the messages that we need to 
be telling without getting on a soapbox, is 
that if you do get smashed around, it does 

"There's a fine line, especially for chil- 
dren, where you need to be able to say there 



are consequences to violence, but at the same 
time, the violence we have on Hercules is fun 
and camp and over the top. so I was quite 
happy to have that happen, say, "Ouch!" and 
have to deal with it for the episode." 

In recent months. Hercules has become a 
family show in more ways than one. Hurst's 
wife, the noted New Zealand actress Jennifer 
Ward-Lealand recently guest-starred. "She 
played Voluptua in "All That Glitters.' She's a 
very well-known actor, and a great one. in 
my humble opinion. It's great that she was 
able to be involved in Hercules, and also that 
we understand each other in terms of the 
business and what it means, and how exact- 
ing it can be. I went to the set to visit, and I 
could not believe what they were getting her 
to wear: I thought it was fabulous! I didn't 
give her a hard time; I'm a supportive hus- 

"The violence we have 

i on Hercules is fun j 

and camp and over 1 

An even bigger secret to some viewers is 
the fact that Hurst actually plays another, 
more stygian role in the series from time to 
time. If you look closely, that's him under 
several pounds of prosthetic makeup, ham- 
ming it up as Charon, the boatman with an 
attitude. "I don't think we've really made a 
secret of it, so it's there for people to find out. 
My name is in the credits as Charon. It's just 
one of those things that happened, and I 
played him in the second or third movie. 
Hercules and the Underworld. 

"The reason they asked me was because 
they were just stuck one day and I said. 
'Yeah, I can do an accent,' and it was a big 
makeup job. Again, that was kind of a high- 
light for me. because of the three-hour make- 
up job. and the difference in the character 
and the way he is. I play him as a sort of New- 
York taxi driver. The accent just happened at 
a moment's notice, in a fit of inspiration, and 
everyone liked it. At that stage. I wasn't 
expecting to be in Hercules ever again, so it's 
interesting that both characters have popped 
up again." 

Actor Adventures 

Looking back over past Hercules adven- 
tures, Hurst has a number of personal high- 
lights, many of which are isolated moments 
and scenes, rather than specific episodes. 

"In the very first episode ["The Wrong 
Path"], I liked the opening fight sequence. 
which is hilarious. Basically, working with 
Doug Lefler on that, and on a number of 
other episodes is always a highlight, because 
he understands that kind of action. I think 
he's influenced by [Hong Kong action direc- 
tor] John Woo, actually, and understands that 
sort of rhythm, and we just have a hilarious 

time achieving it. That was a highlight, and 
learning to ride a horse was another one. 
Before that, I could sit on a horse and move 
around, but for the Xena episodes, we 
learned to gallop and the horses were rearing, 
and it was a lot of fun. 

"I really enjoyed working with Bruce 
Campbell, who directed 'The Vanishing 
Dead." and was also in 'The King of Thieves.' 
We got on famously, and of course. I remem- 
ber seeing Bruce in the Evil Dead movies. It 
was great to work with someone like that. He 
was fantastic, because you'd set up a shot, 
and then he'd come up to you and mumble 
something in your ear like, [imitating Camp- 
bell's voice] 'The money is on the shot here, 
so make sure you give it to me there; any- 
where else, I don't care!' He understood it 
from the acting side, and it was great because 
you knew where he was looking and what he 
was looking for. and he communicated it 
very clearly. 

"Another highlight with Kevin and me 
w as an episode where Hercules gets a fatal 
wound, or we think it's going to be fatal, and 
we had to call on the resources of grief — 
what would happen if he died? Kevin and I 
got to play some really emotional stuff. 
That's one of the good things about the 
series, and one of the things that people 
respond to: it will carry that level of acting. 
as well as the kind of fluff, if you like, espe- 
cially between these two men who are really 
friends. I remember when we were playing it 
on that day, and we were both close to tears. 
That scene stands out in my memory." 

One aspect of the series that Hurst is still 
getting used to is the idea of being one of 
TV's hottest new sex symbols. To some 
extent, the actor admits, it's just part of the 
job. "Because of what we wear on the show 
and how we do it, I would be lying to you if I 
said I don't think about it. We spend the 

whole morning in makeup, being made to 
look as great as we can look, and we spend 
hours at the gym trying to keep that edge and 
that fitness. That's always built into the role, 
even the way they construct the shots, you 
can see that very clearly, so I always expect- 
ed that to be part of the deal. 

"What has knocked me over is that some 
of the fan letters I get are very full-on letters 
from what can only be called adoring fans, 
who tell me they love me. I just sit there and 
think, 'Wow, I can't believe somebody is say- 
ing that! ' Some letters go too far. but I guess 
that's part of the job." 

When Hurst broke a bone in his arm, it 
was written into the show as a reminder 
that violence does have its consequences. 

Turning his attention to the future. Hurst 
hopes to use Hercules as a stepping stone 
into features, notably in the action-adventure 
genre, for which he obviously has plenty of 
first-hand experience. There's also the the- 
ater, where the actor says Shakespeare is 
never conquered as far as he's concerned. 

In the meantime. Michael Hurst is more 
than happy to battle mythological monsters 
at Hercules' side. "Twelve months from now, 
I could still be doing this," he muses. 
"Beyond that, it's like anything else: so many 
things could come into my life, but I certain- 
ly have no intention at the moment of run- 
ning away from it. I'm very happy doing 
Hercules at the moment. I feel like I'm with a 
family actually; the producers here, the crew, 
we all feel very close, and that's one of the 
best aspects about doing the show. Yes, I can 
see myself doing this 12 months from now 
for sure. After that, who knows?" -^ 

The way I play lolaus is absolutely honest 
and absolutely brave," states Hurst. 




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To one Nutty 
Professor, Stella 
Stevens was the 
perfect woman. 


An obsession with Man's dual nature 
sparks a fantastic experiment. Behind 
locked doors, in a darkened chemical 
laboratory, the scientist quaffs a bubbling 
elixir. He falls to the lab floor, writhing in 
pain. Now he rises — no longer the scientist, 
but instead his alter-ego — bearing a name 
that has struck terror into the hearts of gen- 
erations of adult moviegoers — 

Jerry Lewis??!! 

The veteran comic put a unique spin on 
Dr. Jekyll and Mr. Hyde in 1963. directing. 
co-producing, co-writing and starring in The 
Nutty Professor as the dweebish Professor 
Kelp and the arrogant, narcissistic Buddy 
Love. The object of the affection o/both; sexy- 
Stella Stevens. 

Only child Estelle Eggleston (Stevens' 
real name) was raised in Memphis. Ten- 
nessee, and got her first acting break playing 
Cherie in Bus Stop at Memphis State U. 
Then, 20th Century-Fox brought Stevens out 
to Hollywood to possibly star in a planned 
screen bio of Jean Harlow (never made), and 
gave her her first movie roles in Say One for 
Me and The Blue Angel (1959). Playing 
Appassionato Von Climax in Paramount's 
Li'l Abner ('59) earned her a contract at that 
studio (during which time she co-starred in 
The Nutty Professor), a five-year stretch fol- 
lowed by a five-year run at Columbia. Critics 
insisted all throughout the '60s that Ste\ens 
was teetering on the brink of top stardom — 
which never came — but the self-described 
"survivor" has nevertheless built up an 
imposing list of movie and TV credits and is 
still going strong. Now in her fifth decade (!) 
of playing sexy roles, the actress "born to 
make movies and to drive men crazy" 
(according to director Henry Hathaway) 
looks back on one of her best. The Nutty Pro- 

STARLOG: Did you know Jerry Lewis prior 
to making The Nuttv Professor! 
STELLA STEVENS: Yes. I met him 
through a director who I would say was one 
of my early mentors and a very fine comedy 
director, Frank Tashlin. Frank had directed a 
lot of Dean Martin and Jerry Lewis pictures: 
he was a wonderful comedy director and he 
was my first teacher, teaching me how to be a 
director — a comedy director, actually. He 
introduced me to Jerry. Our first encounter 
was when Jerry was doing CinderFella 
[I960], and in it he had a vision of the 
appearance of the real Cinderella. He asked if 
I would do that and I said that I would love 
to. and I would like SI. 000 to do it. Well, he 
refused to pay it — I think he got somebody 
for scale, so I didn't work with him in Cin- 

Like all brilliant directors, Jerry Lewis was "totally consumed and involved with his 
work" on The Nutty Professor, says Stella Stevens. 

Then Nutty Professor came along, and of 
course this time I was offered a leading role: 
it wasn't just one little cameo appearance. I 
was delighted to do it, and as of this day, it is 
still one of the best roles that I've gotten to 
play. I once met a man who was a fanatic 
about The Nutty Professor — he had seen it 
about 30 times — and I said to him, "You 
know. I was jealous that I never got to take 
the potion." And he said to me. "Oh, Stella 
Purdy didn't need any potion. She was 
already perfect!" I thought that was really 
nice: she was a wonderful character, and she 
was written as sort of the perfect woman — in 
Professor Kelp's eyes. So, it has been one of 
the nicest characters I've ever been able to 

STARLOG: How did you like working with 
Jerrv Lewis? 

STEVENS: He probably was the most gen- 
erous director, in teaching me how to direct 
on that film, that I had ever worked with. He 
knew of my interest in becoming a director 
and he explained to me everything he did. 
Wally Kelley, the cinematographer. did the 
same thing. I probably learned more on Nutty 
Professor than any other film. Jerry let me go 
to dailies, he took me to every cut of it, and I 
watched it become one of the best pictures he 
had ever made. I'm still very proud of it, and 
I still have a lot of knowledge of directing 
comedy and putting films together that stems 
from those early years. 

TOM WEAVER, veteran STARLOG corre- 
spondent, is the author o/They Fought in the 
Creature Features (McFarland, $38.50). He 
profiled Marie Windsor in STARLOG #222. 

STARLOG/ February 1996 57 

Stevens had aspirations to be a serious actress, but "people still want to see me 
naked, no matter what." 

STARLOG: Did you enjoy acting in it? 

STEVENS: As an actor, I was scared to 
death, because I had the responsibility of 
being this perfect woman. It was a comedy, 
and it took me a while to realize that if one 
person is funny, the other person has to be a 
straight man. So. Stella Purdy was the 
straight man to Professor Kelp's comedy. But 
I also felt like I wanted to be funny — I've 
always felt like I'm a funny actor, and I want- 
ed to bring forth some of my funniness. How- 
ever, there is a rule of comedy: If you have a 
funny situation, you use straight people, and 
if you have a straight situation, you use funny 
people. So I was not supposed to be funny in 
that picture. People have told me how good I 
was in it. but I felt like I was very subdued — 
I couldn't do what I wanted to. I wanted to be 
funny [laughs], but it wasn't called for. 

Jerry also taught me, as an actor, to be 
ready to do the first take and that's it. 
Because he always went for the first take. I 
still do that now^ and I find, especially work- 
ing in low -budget independent features, that I 
am just the doll of the set for doing that, 
because I don't waste a lot of film. If I can do 
it in one take. I would rather print that and let 
it go. because the spontaneity is there. I do 
like to rehearse a lot. but once the camera 
gets rolling. I like to put it down once and 
that's it. That's a residual from Jem', too. 
STARLOG: Did the fact that he always went 
for the first take make Nutty Professor a 
speedy production? 

STEVENS: No. it wasn't speedy at all. It 
was a leisurely [schedule] and it had a good 
budget for a film of that size at that time. I 
believe it was about a five- or six-week pic- 
ture, and that was pretty normal back then. 
STARLOG: Was Lewis a clowner off-stage, 
or did the fact that he was the producer/direc- 
tor put a crimp in that? 
STEVENS: His sense of humor was always 
there, and there would often be a moment or 
a few seconds of clowning, but he was 
always an extremely brilliant, professional 
director and he was making a movie. He was 
into that totally, wearing many hats — I mean. 
he selected or chose everything; he had the 
yes-or-no about everything. He was just 
totally consumed and involved with his work. 
I don't think that that's terribly unusual for a 
brilliant director: all of them are consumed 
with their work. It showed me the dedication 
involved in making a good film. 
STARLOG: Obviously, you have a great 
deal of respect for him as a director. 
STEVENS: Jerry was the first director in the 
business to use a "'video assist" — that means 
you shoot the same thing on videotape that 
you do in the camera, and then you replay it 
instantly. He was directing himself, and he 
had to go back and look at what he had done 
to see how it looked. Everybody kind of 
pooh-poohed it way back in those days — 
nobody ever thought of that, that was a new 
innovation. Today everybody in the business 
uses it. He was the man who started that 
process — he was a genius! 

On the set of her new film Invisible Mom, 
Stevens is flanked by actor John Ashley 
and director Fred Olen Ray. 

58 STARLOGIFebruan- 1996 

STARLOG: Was he the kind of director who 
was open to suggestions? 
STEVENS: Always! The most brilliant 
directors are always open to suggestions. If / 
direct a piece. I want everybody in the thing 
to come give me all their ideas. Then when I 
direct it and my name is on it. everybody will 
say. "Oh, God. she's brilliant!" [Laughs] It 
doesn't matter where the ideas come from, 
the directors are going to get credit for it any- 
way! If you can't think of something and 
someone else can, then thank God that they 
can, and use it! It's a team effort to make a 
film, no matter who is at the helm — every 
single person involved is important. 
STARLOG: Can you think of an example of 
a suggestion that you gave Lewis and he 
took — something that can be seen in the 

STEVENS: I can't think of a specific one. 
but I do know that, in seeing the dailies. I 
might say. "Oh. God, that [take] is better on 
me than this one, don't you think?" Or. "This 
looks better than that," or, "Oh. that was 
awful." The dailies show the flaws in the act- 
ing, if there are any, so if I would prefer one 
take over another. I would let Jerry know 
that. I just remember being able to make any 
comment I wanted to. and he was never upset • 
by anything I said. I had the innocence of a 
child, to be able to go in there and say. "Oh. 
that's wonderful." "Oh, that's bad." and he 
never took any of it personally — he probably 
knew it was from the eyes of a child and there 
was nothing malicious about it; it was just an 
impromptu opinion, and everybody has opin- 
ions! He might have taken heed of some of 
them. I loved the film very much, and wanted 
it to be really good — it was a big break for 
me to get a starring role in a film like thai. 
And it fulfilled all of my hopes. Not only 
that. I never knew that for over 30 years, peo- 
ple would see it over and over and love it and 
think it was the best film Jerrv ever made. 

"It was a big break for me to get a starring role in a film like [Nutty Professor]. And it 
fulfilled all of my hopes," she says. 

and tell me that I'm good in it! So it has been 
a total pleasure, that film. 
STARLOG: Many writers claim that 
"Buddy Love" was a takeoff on Dean Martin. 
Was it? 

STEVENS: Not everybody says that — only 
people who don't know say that. It's a very 
bad misconception, and it was never true. 
The fact that Buddy Love looks handsome 
and his hair's slicked back and things like 
that, they may have some similarity [to Dean 
Martin], but Jerry tried to create a very inter- 
esting character: A beautiful-looking man 
who. underneath, was a monster. That had 
never been done again that way before. I 

mean, when Dr. Jekyll turned to Mr. Hyde, he 
was visibly a monster, but when Professor 
Kelp turned to Buddy Love, he was visibly a 
real cool cat [laughs] — the hippest, coolest 
thing around and the person that everybody 
wanted to grow up to be. But underneath it. 
he was horrible — underneath, he wasn't half 
the person that he was as Professor Kelp. 
That was a new concept then and it remains a 
very unused concept now — the fact that the 
beautiful people sometimes are the most 
deadly and horrible. I thought it was brilliant 
that Jerry did it that way — it made the picture 
more interesting, and it had nothing to do 
with Dean Martin. 

"The greatest straight man I ever worked 
with" was Dean Martin, Stevens' Silencers 

In comedy, "if one person is funny, the other has to be a straight man," says Stevens. 

STARLOG/Februaiy 1996 59 

STARLOG: The movie was a terrific show- 
case for you — lots of close-ups, lots of 
chances to talk to the camera, etc. 
STEVENS: Yes, Wally Kelley was wonder- 
ful — he did such great photography of me; I 
just loved him. And I did learn a lot about 
that from him as well. 
STARLOG: There's also the great scene at 
the classroom door, where Professor Kelp 
envisions you in all the different outfits. 
STEVENS: Everybody talks about 
that — Jerry thought that up and did it, and 
we all thought [in a casual, offliand 
voice], "Oh, that's cute." But to this day, 
people remember that sequence — isn't 
that amazing? 

STARLOG: How long did that take to 

STEVENS: Just as long as it took me to 
change clothes [laughs] — it was not very 
long, it was a very easy thing to do, just pos- 
ing like a model. It was shot in a few hours 
one afternoon, and that was it. But to this day, 
people talk about it. which is a surprise to 
me. the fact that it stuck in their minds. How- 
ever, there was Jerry Lewis' brilliance in 
knowing that men love to see their women 
dressed in many ways, and they imagine 
them in many different outfits. Men do love 
and appreciate women who are dressed in 
cute or alluring or sexy clothes. I went from a 
schoolgirl to a tennis player to a long gown to 
a swimsuit — he imagined me in all those 
ways, making it a complete rounding-out of 

Hollywood transformed Yazoo City, 
Mississippi's Estelle Eggleston into 
glamour queen Stella Stevens. 

the Paramount lot. 

STARLOG: Once the film was finished, did 
you make personal appearances or go on a 
tour with it? 

Stevens (center, kneeling) thought of herself as a female Jerry Lewis in The Silencers 
(with Daliah Lavi, Martin, Cyd Charisse). 

what it would be to have a life with a person 
like this. I thought it was great, and I really 
am glad people appreciated it. I've never seen 
it done in another movie. 
STARLOG: Where were the university exte- 
riors shot? 

STEVENS: They went to the University of 
Arizona without me and shot the exteriors 
there. The interiors, of course, were done at 

STEVENS: We didn't have a tour for the 
film, no. In fact, sadly enough. I didn't see 
Jerry for almost 30 years afterwards. I did 
two films with Dean Martin [The Silencers. 
1966, and How to Save a Marriage (And 
Ruin Your Life). 1968], and at the time he and 
Dean were not speaking, so Jerry and I lost 
touch with each other and didn't speak for 
over 25 years. Finally, when he was planning 

to do a sequel to The Nutty Professor, he got 
in touch with me and we spoke about it. He 
said he had a script and he would like me to 
do the sequel. That was before he sold The 
Nutty Professor to Eddie Murphy — that 
phone conversation was about three or four 
years ago. The last time I actually saw him 
was this year when I went to New York 
City to meet with my literary agent. 
Damn Yankees was running on Broad- 
way and I went to see him in it. I went 
backstage, met his wife, saw him, had 
some pictures taken and it was the first 
time we had seen each other since The 
Nutn- Professor. 

STARLOG: When was the last time you 
saw Nutn Professor! 

STEVENS: Just recently, it showed at the 
LA County Museum and Kathleen Freeman 
and I went and spoke to the people there. It 
was just wonderful to see it again — I enjoyed 
it a lot. 

STARLOG: What are some of your other 
movie favorites from those early years? 
STEVENS: One of my favorite movies is, of 
course. The Poseidon Adventure [1972], 
which is still a great movie. The other day I 
happened to turn on the TV and there it was 
on Showtime, uncut, and I sat and watched 
the whole thing [laughs]'. I can't tell you how 
manv times Eve seen it! Another film was 
The Ballad of Cable Hogue [1970], the Sam 
Peckinpah picture with Jason Robards and 
David Warner. I like that because I liked my 
role in it. They expanded the role for me 
when I took it: [in the original script.] when 
mv character went off in the picture's begin- 
ning, she never returned. And one of the best 
moments in the film is when she returns to 
get Cable. Well, they added that after they got 
me. because I complained bitterly that the 
woman should come back. The studio hated 
Sam Peckinpah so much because of his 
behavior that instead of releasing the picture. 
lhey flushed it. It was totally ignored, and my 
performance went unseen. The prophetic 
words of my good friend Frank Tashlin rang 
in my ears. He said to me, "It's better to have 
a small part in a big picture than a big part in 
a small picture." And. sadly enough. The Bal- 
lad of Cable Hogue ended up being a small 
picture because they just threw it out there. 
STARLOG: In the '60s. you got many 
reviews that said you were a gifted actress, that 
you were one role away from top stardom, etc. 
STEVENS: People used to say that to me all 
the time: ■'All you need is one picture." and 
here I am. 35 years later, waiting for that one 
picture. But you can never give up, or the one 
picture won't come along. 

I had always been a very serious actress — 
I had visions of myself being more serious 
than Meryl Streep. if that's possible! But I 
was thought of as a tits-and-ass person and a 
sexpot and, hard as I tried, I never was able to 
overcome that. People still want to see me 
naked, no matter what. I am still doing pin- 
ups — I'm in my 50s. doing stuff that kids in 
their 20s are doing! I had always been a 
model, I had been a model before an actress, 
and I had done some pinup modeling before 
doing any nudes — I hated the nudes. 

60 STARLOG/ February 1996 

The actress still considers Stella Purdy "one of the best roles that I've gotten to play." 

STARLOG: Wasn't there some talk, and 
also a number of trade paper ads. that you 
deserved an Oscar nomination for The 
Silencers' 1 . 

STEVENS: There was talk about it. j e 
Gail Hendricks [Stevens' character in The 
Silencers], the girl who was not dumb, but 
accident-prone. I had a good opportunity in 
that — I thought of myself as a female Jerry- 
Lewis, because I got to be the funny one and 
do a lot of funny stuff, and I was with Dean 
Martin, the greatest straight man that I ever 
worked with. I remember that the press agent 
I had at that time took out the ad for me — 
Jerry Pam, who had handled the Beatles. I 
said to Jerry afterwards. "Well, at least we 
tried," and he laughed out loud in my face 
and said, "Oh, you didn't really expect any- 
body to pay attention to that?!"" That was the 
way I was treated. 

STARLOG: Was there ever any real anger or 
bitterness on your part, when things like this 

STEVENS: I think any bitterness and anger 
only makes someone like me try harder. First 
of all. what are the odds against some little girl 
born in Yazoo City. Mississippi, and living in 
Memphis. Tennessee, getting out of there and 
going to Hollywood and surviving? I survived. 
And I realized that I did much better than 
many people around me anyway, and I knew^ 
how talented I was. but it didn't seem to make 
any difference. It's a business of being in the 
right place at the right time and it's a business 
of who you know, and being known as a sex- 
pot was a very damaging thing to me. 

You hear these rumors of the casting 
couch — and casting desks, and casting 
chairs. There are too many people in posi- 
tions of power in this business who really are 
in it just to diddle with the girls. I really hate 
that part of it — that's why I wanted to 
become a director, that's why I wanted to 
become a writer, that's why I wanted to not 
have to rely on other people giving me jobs. I 

wanted to be able to make my own work. I 
tried to instill this in my son Andrew, who 
now has gone from acting to directing to pro- 
ducing — he is now president and CEO of his 
own company [Royal Oaks] which produces 
and distributes films, and he acts when he 
wants to. He would rather direct than act, and 
he would rather produce than direct, because 
he wants to make money and be a success'. 
STARLOG: Did you ever do anything in a 
movie that you really didn't want to do? 
STEVENS: Probably' gratuitous nude 
scenes, things that I felt were unnecessary. 
but I knew they would boost the box office. 
In Slaughter [1972], a movie that I did in 
Mexico with Jim Brown, there was a nude 
love scene between the two of us. Well, we 
excluded everybody from the room but the 
cameraman and crew. And then the company 
itself sold frames of film to Playboy maga- 
zine, who printed them as though we had had 
a photographer there shooting. Playboy and I 
have an ongoing feud — I despise and hate the 
bastards. Hugh Hefner is. I guess, the only 
enemy that I really have. He lied, he cheated, 
and they abused me for over 15 years in that 
magazine. I usually forgive and forget every- 
thing, but when it has damaged my income, 
my status, my image and everything about 
my life — made my son miserable for the first 
15 years that he was out here — oh, I despise 
the magazine and the man and everything 
about it. 

STARLOG: Is this for publication? 
STEVENS: You may print that in big, bold 

STARLOG: You also acted in a '60s horror 
film called The Mad Room that ended up in 

STEVENS: The Mad Room was a really 
ambitious project: To make the scariest 
movie we could do. We compared it with 
Psycho and said, "Let's make this sooo scary 
that it will be a horror picture that everybody 
will love!" And in the middle of it. the studio 

Lewis portrayed Stevens' university 
instructor on-camera and taught her how 
to direct off-camera. 

head came down with an edict about the 
Moral Majority and the fact that we had to 
curb the horror in our honor film, and they 
recut the picture and threw the director off 
the lot! Barney Girard was thrown off the lot. 
not allowed to cut the picture, and they cut 
most of the horror out of it! So what you see 
there is a watered-down version of what we 
did. But the thing that made me maddest of 
all — I'm still angry about it! — is their 
hypocrisy. There was a kiss between a black 
girl and a white boy in this movie, and they 
had that altered or taken out or made to 
where it didn't exactly look like it happened, 
because they were so afraid of showing a 
black girl kissing a white boy. Now, I was 
incensed by this, and I am still today, and I 
hate them for tampering with the film. This 
was just another case where all these good 
people had all their good intentions and tried 
their best to make something great, and the 
studio screwed it up before it was ever 
released. There we were with some watered- 
down version, and we had to smile and say. 
"Well, we tried our best." It was very, very 

STARLOG: You had the lead role in The 
Granny. And you certainly don't seem to 
lack for work lately. 

STEVENS: I recently did a film called Star 
Hunter with Roddy McDowall, and I did a 
one-day cameo in a film Andrew directed 
called Flash Frame. I just completed a film 
called Invisible Mom with Dee Wallace 
Stone, who plays the Invisible Mom. I am 
Mrs. Pringle. a busybody who spies on her 
neighbors with binoculars, and when she 
doesn't see the Invisible Mom — because 
she's invisible — she imagines that the hus- 
band has murdered her and chopped her in 
little pieces and buried her in the garden 
[laughsY. It's a very funny character. 
STARLOG: Do you think Eddie Murphy 
will do justice to The Nutty Professor'] 
STEVENS: I saw Eddie Murphy play Pro- 
fessor Kelp in some of the old Saturday Night 
Live skits. I don't know what he's going to do 
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STARLOG I February 1996 61 



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^o f Menaced! 

After years lost in space & time, John Crawford isn't just a 
flamboyant Shakespearean actor. 


John Crawford is a name you probably 
don't know and it's attached to a face 
you may not remember, but you have 
seen his work. Almost everywhere. 

He has guest-starred on such shows as 
The Twilight Zone, Superman and Batman 
(as Printer's Devil. Bookworm's number-one 
henchman). His body of work goes back to 
the serials, where he co-starred with Leonard 
Nimoy in Zombies of the Stratosphere as the 
Martians' henchman, Roth. He has appeared 
in low-budget thrillers like The Phantom of 
42nd 'Street, big-budget spectacles like Exo- 
dus, The Longest Day and The Greatest Story 
Ever Told and genre films like The Devil's 
Messenger. His last real genre appearance 
was as the General on TV's Powers of 
Matthew Star. 

Currently in his mid-sixties, Crawford 
looks back over the years to a time in the late 
1940s when, as a very young actor, he man- 
aged to get a few fleeting bit parts in such 
films as Abbott and Costello's The Time of 
Their Lives. It was legendary stuntman Yaki- 
ma Canutt who gave Crawford his first big 
break in motion pictures. "Yakima Canutt. 
the granddaddy of all stuntmen, was my 
cousin by marriage, and he got me started in 
the business when he was directing serials in 
the late '40s at Republic. The first one that I 
did was Adventures of Frank and Jesse James 
which starred [a pre-Lone Ranger] Clayton 

Several years later, while at Columbia 
Pictures. Crawford nabbed one of his few 
starring parts in films. "I played the title role 
in the serial The Great Adventures of Captain 
Kidd, which was filmed at the old Columbia 
annex Lymon Place, which is now a Safe- 

JOEL EISNER is the author of the Official 
Batman Batbook and Lost in Space Forever. 
He profiled Malachi Throne in STARLOG 

64 STARLOGIFebruarv 1996 

In a career of character roles, his Dr. Chronos on Lost in Space stands out for John 

Crawford is one of the few actors to have 
appeared on all four of producer Irwin 
Allen's SF-TV entries, Voyage to the Bottom 
of the Sea, Land of the Giants, Lost in Space 
and Time Tunnel: the main reason was the 
shows' casting director, Larry Stewart, "a 
very dear friend of mine. Larry and I worked 
together as actors back in the early 1950s 
when I had a theater in Hollywood. The Play- 
ers Ring. Larry's dad. Harry Sauber. was a 
casting director for producer Sam Katzman. 
who used to make a lot of cheap pictures at 
Columbia. Katzman would take the sets left 
over from some big extravaganza and, being 
a very clever junk dealer, would write a pic- 
ture around the sets. This was the way some 
of the films that I did like Slaves of Babylon 
and Serpent of the Nile were created. Some- 

how he made them work and made a hell of a 
lot of money out of them. 

"Anyway, Larry's dad came to our theater 
to see him perform: he also seemed to enjoy 
my work, so that was how I was cast in the 
Blackhawk serial. So. there we were, Larry 
and I, in late 1951. with Kirk Alyn playing 
Blackhawk. running around in some kind of 
uniform, fighting the forces of evil for 15 

Stewart eventually gave up acting to fol- 
low his father into casting. He cast numerous 
series, including the original Twilight Zone: 
today he's a successful TV and film director. 
Having a friend as a casting director is a boon 
to any actor's career, as Crawford explains: 
"When Larry left acting to become a casting 
director, it was my good fortune because he 

"I played the title role in the serial The Great 
Captain Kidd" remembers Crawford. 

saw me for every pan. and I loved that 
because I do pride myself on versatility. So, 
Larry became a casting director at 20th Cen- 
tury Fox. and among the things he was cast- 
ing were all those Irwin Allen shows. 

""I had never heard of Irwin Allen, as I had 
been living in London for six to seven years, 
where I knew a producer named Irving Allen. 
Not being up on the American scene. I some- 
how confused the two. My agent, who had 
gotten Larry the job at Fox. said to me, "Get 
on out there as they want to see you on Time 
Tunnel.' I didn't even know what the hell 
Time Tunnel was." 

Unusual Faces 

Crawford's first encounter with Allen 
came unexpectedly during a crucial scene of 
the "Revenge of Robin Hood" episode, in 
which Crawford portrayed England's King 
John. It was almost the end of their relation- 
ship as well. 

"Larry knew Irwin Allen was very fussy 
and had to look at everything and everyone, 
every detail, costumes, wigs, beards, etc.. so 
Larry told me. 'I'm going to hold off on this. 
I'm going to bring you in sight unseen." 
Believe it or not, it worked! 

"I had never met Irwin Allen, so when I 
walked onto the set and started working on 
this Magna Carta scene, I remember I had a 
pronounced English accent and I was leaning 
over a table with my hands on the table, 
being very dramatic. The director [William 
Hale] was about two days behind schedule. 

Adventures of 

and we were in the mid- 
dle of the fourth of 
what was usually a five- 
to-six-day shoot. He 
was really slower than 
molasses. The unusual 
thing about this is that 
with Irwin Allen if you 
got about three frames 
behind, he would be 
down there on the set 
wanting to know what 
the hell's going on. For 
some reason, he let 
Hale get himself into 
this big mess. Unbe- 
knownst to me. Irwin 
Allen, having slipped in 
through a back door, 
was standing in the 
crowd behind the cam- 
era. Now, we were in 
the middle of this take 
and I was acting up a 
storm. I was impressed 
with what I was doing, 
the way everything was 
rolling out and how 
nicely the accent was 
coming along, so. I sup- 
pose for a little dramat- 
ic effect, I thought I 
could afford a long 
pause. Well, right in the 
middle of that pause 
came a shout. "All right, 
cut!' I immediately said, 'No. I'm still act- 
ing!" I then went on with the speech and 
nobody said anything. When I finished, the 
director said cut. I did not realize at the time 
that the man who interrupted my scene was 
Irwin Allen. He just came onto the set and 
took the job away from the director, just like 
that. Well, that's how Irwin and I met. The 
fact that he hadn't rattled me impressed him. 
"The next Time Tunnel episode I did was 
'Billy the Kid' [with Robert Walker Jr. in the 
title role]. After they had completed 'Robin 
Hood,' Larry went to Irwin and said, "How 
about John Crawford 
for the deputy?' and 
Irwin quickly replied. 
'Oh God. no! He's a 
flamboyant Shake- 
spearean actor, and I 
want a cowboy, a real 
Western type!' Now, I 
happened to be on the 
lot at the time work- 
ing on something else 
and I had a book of 
photos — I don't carry 
it anymore, but in 
those days I did. Larry 
and I were having 
lunch in the commis- 
sary and he asked me. 
'Do you have that 
book on you today?' 
and I said, 'Yeah, it's 
out in the car." I went 

and got the book and gave it to Larry. He 
said, 'That picture, right there! I want you to 
go up to Irwin's office and show him that pic- 
ture." It was of me as a rugged, bulgy guy 
with the stubble of a beard, just a mean, no- 
good son-of-a-gun. So, I went up to Irwin 
and I said. 'Larry Stewart says that I should 
show you this picture," and proclaimed that I 
didn't know what it was all about. Of course. 
I knew damn well what it was all about, 
because I was trying to get a role. 

"Irwin Allen, who had already said. 'No! 
No! No! We can't use John Crawford, he's a 
flamboyant Shakespearean actor with an 
English accent,' made me laugh when he 
said, 'John, you're going to have to beard up 
for this part.' So, that was it! That's how I 
really got started there. Irwin was impressed 
with my versatility in that I could go from 
King John to an old cowhand and convince 
him I was able to do both." 

"I do pride myself 
on versatility." 

Crawford also appeared in the episodes 
"The Death Merchant" and "Raiders from 
Outer Space." "Of the four. I really can't pick 
a favorite: I enjoyed all of them. The whole 
Irwin Allen sequence eventually began to roll 
one right into another. I didn't know what 
show I was on. half the time. They were all 
bigger-than-life characters and after a while, 
they all began to blend together." 

The actor has fond memories of his role 
in Lost in Space as Dr. Chronos. in "Time 
Merchant." Considering his vast checklist of 
roles, this might seem strange. " 'Time Mer- 
chant' was one of my favorite roles. I really 
flipped over that one. It may sound strange 
after almost 50 years in the business, and I've 
been in some pretty important pictures, but 

Crawford, who later guest-starred on Star Trek, first shared the 
screen with a young Leonard Nimoy (far right) in the serial 
Zombies of the Stratosphere. 

STARLOG/ Februarx 1996 65 

In the "Time Lock" episode of Voyage to the Bottom of the Sea, Crawford (far left) used 
a disastrous accent. "I had to redub that entire role," he admits. 

that particular role really appealed to me. It 
was reminiscent of Frank Morgan as the 
great Oz in The Wizard of Oz. Chronos was 
kind of cantankerous and he had this little 
domain filled with all of these wonderful 
props. There were watches and clocks hang- 
ing everywhere, some of which almost 
looked like Salvador Dali designed them, as 
they were bent over and strange. It was shot 
in a limbo area built on the soundstage with a 
desert-like backdrop." 

Lost in Space also reunited Crawford 
with a former co-star. "I had met Guy 
Williams in 1962 in Munich. Germany, 
where we shot Captain Sinbad," the actor 
remembers. "I was playing a character 
named Aram, a man who had a claw for a 
hand. We didn't get all that friendly on loca- 
tion and while on Lost in Space, we never got 
all that close either." 

Strange voices 

About the same time that Crawford 
filmed what was to become one of his fa- 
vorite roles, he played what he considers his 
worst — the futuristic madman known as 
Alpha in the "Time Lock" episode of Voyage 
to the Bottom of the Sea. "It's one of the few 
jobs in my entire career that I am really 
ashamed of, because I had to redub that 
entire role. 

"I had figured if Alpha were a futuristic 
man who was really all that powerful, he 
wouldn't have to go around acting or talking 
tough in a big gruff voice. I thought it would 
really be even more insidious and frightening 
if he almost had a kind of a genteel [stereo- 
typically gay] voice, and spoke like some of 
the English performers you've seen. It would 
have made him unusual, but all the time he 
was doing these terrible things and capable 
of doing even worse. I thought it was a hell of 
an idea and that was my selection. 

"When we were shooting the thing. Irwin 
Allen came down on to the set and he just 
loved it. Evervthina was aoina areat. Well. 

somebody saw that film. I don't know who it 
was, and said to Irwin. 'You know, he is 
speaking so softly and gently that you have 
taken away all of his power to threaten. He is 
your antagonist and you have now weakened 
him with these simpy tones." I had thought 
that since this man was cerebral and lived in 
his mind, this was all the more reason why he 
would not be a street fighter. So. they made 
me redub it. 

"While we were dubbing it. the sound- 
men were saying, 'Why in the hell are we 
dubbing this? This is great stuff.' If it had 
been done today, or maybe even then but 
with a different produc- 
er and point-of-view. 
they would have left it 

A major problem 
arose on the dubbing 
stage. "When you're 
dubbing a person, even 
if it is yourself." Craw- 
ford explains, "and they 
are speaking and elon- 
gating the vowels, and 
you try and play him 
with a heavy voice, it 
becomes kind of 
mechanical because you 
have to keep it sync with 
the mouth. Well, it did 
not quite succeed. They 
weren't always in sync 
so therefore when I saw 
that damned thing on 
television. I could have 
died. It was one job I 
really, truly hated doing, 
and I hated to watch it 
because it was almost 
like a robot's voice. In 
fact, I wish it had come 
out like a robot's voice, 
rather than a guy trying 
to sound touah." 

Having to redub his lines was bad 
enough, but the fact that the series' star play- 
er was uncooperative just made life more dif- 
ficult. "During Voyage. Richard Basehart had 
a drinking problem, and he wasn't really with 
us. I thought he was sort of unfriendly. Years 
later. I worked with him on The Trial of 
William Calley, and we got to be very friend- 
ly. This was, of course, after he had given up 
the booze. He later told me that he was 
impressed with my work, and the reason why 
he hadn't been more friendly to me when I 
appeared on his show. He said, 'Well, I was 
usually bombed through that whole damned 
thine." " 

"I didn't know 

what show l was 

on, half the time." 

Unknown Roles 

Craw ford made one pilot for Allen, film- 
ing a 15-minute presentation reel entitled The 
Man from the 25th Century early in 1968. 
lames Darren played an Earthman raised by- 
superior aliens to act as their agent on Earth 
in order to facilitate their forthcoming inva- 
sion. Persuaded to switch sides. Darren is 
hunted by the aliens. 

In extensive makeup. Crawford por- 
trayed the aliens' leader. "I wore an over- 
sized bald cap which gave the appearance of 
a massive brain." Crawford explains. "It 
took about two hours to get in the makeup 

66 STARLOGI Februan- 1996 

and outfit. John Chambers did the makeup, 
but as we all discovered, we burned up one 
appliance every time we put one on. because 
the glue breaks down that crisp edge around 
the appliance, so it wouldn't lie properly 
against the skin. So, he would have to throw- 
it away and go get another one. 

"I told him, "If you just add wispy little 
white hairs around the base, just enough to 
cover the edge, it would save the wear and 
tear on the makeup, then if you added some 
lacquer to the hair, it would make it stand out 
and make him appear even weirder.' Other 
than that, we just wore leotards. The pilot 
never got anywhere and I'm glad because 
spirit gum and I are bitter enemies. After 
awhile, my skin rips off when I remove it and 
I develop a terrible rash whenever I'm 
exposed to it, so anything to do with a beard 
or mustache. I loathe. I'm usually a happy 
soul until you put the damn beard on me. 
then I become a real bastard." 

After small parts in Allen's Poseidon 
Adventure and The Towering Inferno. Craw- 
ford was picked to co-star with Frank Lan- 
gella for a possible spin-off series from 
Allen's Swiss Family Robinson. "Frank and I 
were supposed to spin-off from our roles into 
our own series. I had a co-starring role all 
lined up there. I was to play Dominique 
Hugue while Langella played Jean LaFitte. 
the pirate." 

But as Crawford points out, "The series 
didn't go. As you probably know, about one 
in 100 pilots ever do. I didn't think Langella 
was right for the part. I enjoyed working with 
him. I thought he was a funny guy but he was 
no Errol Flynn or Tyrone Power, or even the 
swashbuckling pirate type. He could handle 
the silky-toned stuff with the ladies and all 
that high-toned manners, but when it came to 
the other, I just didn't think he was quite 
right. Langella has an eye problem. His eyes 
jiggle and wobble, especially if he gets ner- 
vous. You never see that on stage, but you do 
on film and especially in close-ups. It's too 
bad. because he is a damned good actor." 

In Star Trek's "The 
Galileo Seven," 
Crawford's High 
Commissioner Ferris 
stood in the way of 
Captain Kirk's 
attempts to rescue 
the crew of the 
missing shuttle. 

Allen had a reputation of being a no-non- 
sense man with no sense of humor, someone 
more at home directing special FX than 
actors. Of the many performers who worked 
for the man. Crawford is one of a select few 
who thought otherwise. "I happen to have 
liked Irwin Allen. Many people think he was 
rude, noisy, loud and all this and that. I really 
enjoyed him. admired him. and while I didn't 
always agree with his taste, I have to say per- 
sonally I always got along with him. He was 
a very funny man who spoke in a kind of 
shorthand. He knew what he wanted and I 
think many people thought that was rude." 

Prior to his long association with Allen, 
Crawford appeared on an early Star Trek 

The Robinson family had a particularly memorable encounter with Crawford as the 
flamboyant, cantankerous Dr. Chronos. 

episode. "The Galileo Seven." Playing High 
Commissioner Ferris, he spent almost the 
entire episode matching wits with Captain 
Kirk, while Spock and the landing party bat- 
tled a giant, apelike caveman. "I was very 
unhappy with Star Trek." Crawford says. 
"William Shatner, the star of the series, was 
having an ego problem, and every time I 
walked on to the set, I could just see it. I was 
not allowed to move around the set during 
the entire scene. He kept saying, 'No! No! 
No! No! This is the Bridge of the ship and we 
can't be moving around.' Well, that's a lot of 
bullshit. He always worried about people 
who were taller than him. He didn't want you 
to tower over him. 

"Well. I needed this like I needed a hole in 
the head. I had had a personal tragedy, my 
baby had recently passed away. This was in 
1966. 1 was having a bad time and then I had 
the trouble with Shatner. My friend Bob Gist 
was directing it. Now. sometimes Bob can be 
fun. and sometimes he can be a pain. I think 
he was playing it safe, didn't want to make an 
enemy of the star, because after all. he might 
want to do one of these again. Since I was a 
friend, he could say, 'Well. John, why don't 
you take this line right here and hold the 
whole scene right here.' It wasn't free and 
easy like all the things I did in Lost in Space. 
where I could do any damned thing I wanted. 
The first job. I think, of any director is to free 
the actor so that he can act with his head, and 
to give him monumental confidence — hell, 
you can do anything." 

Notable Characters 

In the classic fantasy film Jason and the 
Argonauts. Crawford portrayed Polydeuces. 
one of the men of the Argo. who engaged in 

S7ARL0G/ Februan- 1996 67 

battle with Talos. the man of bronze. 
Shooting on location in Italy had its 
difficulties. "Jason and the Arg- 
onauts was done at a place called 
Capo de Palinuro, which is down on 
the shinbone of Italy. Charles 
Schneer produced it and Don Chaf- 
fey directed with a British crew. I fell 
sorry for the people who lived in this 
small Italian village, because Charlie 
Schneer was the hatchet man for 
Sam Katzman back in the old days. 
He knew how to squeeze a buck like 
you have never seen in your life. So 
here he was going to descend on 
these poor little Italian villagers. 
Well. I should have saved my tears, 
because the first thing I noticed was 
that out of the hills and surrounding 
area were coming cars and trucks 
and donkeys and each one was car- 
rying a bed or a mattress. They were 
bringing in beds rented from the vil- 
lagers and putting them in rooms 
about the size of a bathroom. They 
managed to put two beds in there 
and then charge Schneer for a double 

"They then supplied the boat 
which we were going to use in the 
film as the Argo. It didn't have any 
reverse gear, so whenever we would sail too 
close to that huge cliff, they were afraid we 
would be smashed to bits — and with good 
reason — and they would stop and have to 
make a long circle to get back to the starting 
point. It would take about 10 minutes to com- 
plete the circle. When they were ready to 
shoot, they discovered that the angle the boat 
was traveling wasn't right, so we went 
around again. This went on and on, hour after 
hour, so we didn't get anything in the can 
until 10 a.m. every morning. Schneer was 
going crazy, so he got us up at 6 a.m. and it 
didn't work. He then got us up at 5 a.m. and 

Legendary stuntman Yakima Canutt, who became a 
director for Republic Pictures, gave Crawford the big 
break that led to him appearing in several serials. 

that didn't work. He finally got us up at 4 
a.m. and he still didn't get anything usable 
until about 10 a.m. on that entire movie." 

When the time came for the Argonauts to 
fight the bronze man, his creator took over 
the filming. "Ray Harryhausen came down 
and had us doing all those wild things. For 
example, he knew that Talos' foot was going 
to come down at a certain angle on a certain 
spot, so he wanted us to run around, trip and 
fall, then look back in horror." 

Crawford has a number of other favorite ■ 
roles. "I keep getting told by people they 
enjoyed me on a picture I did for Arthur Penn 

called Night Moves with Gene Hack- 
man. I played a heavy. I kinda 
enjoyed that part. I enjoyed working 
for Clint Eastwood in The Enforcer. I 
played the Mayor of San Francisco. 
In Backdoor Blues. I was the sheriff 
of Austin. Texas. Then. I did an 
episode of The Bob Newhart Show in 
which I played a loudmouth Texan 
with a mousy wife. I enjoyed playing 
that very much." 

Despite all his credits. Crawford 
might be best remembered for his 
recurring role as the Sheriff on The 
Waltons. where he believes, "some of 
my most honest moments were 
filmed. In particular, there was an 
episode entitled 'The Hero." and it 
was all about the sheriff and how he 
fought in WWI. I had a couple of 
awfully nice scenes in it. and in 
another episode where he was run- 
ning for re-election." 

In the last few years. Crawford 
has turned from acting to writing 
scripts, something he has dabbled 
with for years. Among his many cre- 
ations is one that has since become a 
cult classic. "I co-wrote with Ed 
Penny The Ballad of Cable Hogue. 
which was directed by Sam Peckin- 
pah and starred Jason Robards and Stella 
Stevens. It was filmed in 1969. while I was 
off in Yugoslavia starring in another film I 
wrote called The Marine." 

One of his more recent genre appearances 
was as yet another lawman, the sheriff in The 
Boogens. He did the movie because "I was 
sitting one day in Palm Springs on a nice 
warm day. and you know when they talk 
about a snow picture, you think. 'Well it can't 
be too bad." because you are there in the 
warmth of Palm Springs with a heated pool 
and all that, so I said what the hell, it might 
be fun to do. 

"However. I couldn't believe that title, 
because it sounded to me like a baby talk for 
Bogey Man or something like that. But that's 
exactly what it was! How they arrived at it is 
very interesting: They put the title in a com- 
puter survey with several others, and this was 
the one that got the biggest reaction; because 
everyone has been told when you were a kid. 
"Don't go down there, the bogey man will get 
you.' I begged them, since I had done a little 
writing, don't play around with that word 
Boogens too much, don't even mention it, 
because you're going to get the wrong kind 
of laughs and the title is bad enough." 

Having been in show business for close to 
50 years, and most of that as a character man, 
John Crawford has no real regrets. "So much 
of the stuff that I've done I don't think people 
saw. I did a lot of stuff in England, where I 
had starring roles in the late '50s and '60s, 
but nobody paid really much attention to 
them 'cause they were quick little pictures. 
There was one I did enjoy called Hell Is a 
City for director Val Guest [and Hammer 
Films]. Still, it's always nice to be remem- 
bered." ■# 

68 STARLOG/ Februarx 1996 



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Lanei Chapman seeks adventure 
in flight to space. 


Saving the universe is hard work. The 
hours are long, the spaceships are a bit 
cramped and claustrophobic and there's 
a bunch of alien types shooting at you most of 
the time. That's just part of the excitement of 
working on Space: Above and Beyond. 
Among the recent recruits to the Marine Corps 
Space Cavalry is actress Lanei Chapman, 
who plays fighter pilot Vanessa 
Damphousse. To misquote the old a 
TV adage, working on Space is ^fl 
not just a job: it's an adventure, ^k 

As Chapman relates, the character of 
Vanessa Damphousse may have been some- 
what sketchy in the two-hour Space pilot, but 
she's gaining definition with each new 
episode. "The producers were sure that she 
was going to be a series regular, but they did 
not have much for her to do in the 
pilot. As a matter of fact, I 
l_ auditioned with Shane's 
sides [excerpts of the 
k script], and that was 
a little bit tough. 



because the lines were so specific, you 
almost had to take on Shane's backstory to 
make the sides work. 

"I don't know exactly what they were 
looking for, but it was probably some quality 
in the reading that made them feel that I 
could play the Damphousse character. They 
said that whoever they chose would help 
shape the role specifically around that 
actress. At that time, they hadn't quite devel- 
oped the character, but now she's starting to 
come through a bit. We're all learning a little 
more about her. 

"Damphousse spent four years at Cal 
Tech studying to be an engineer, and her 
father was chief engineer at a nuclear plant, 
which was how her interest in engineering 
began to develop. It's also how she began to 
get experience, because she worked at his 
side and interned under him for a couple of 
summers. She has become the 'fix-it" 
marine — she knows how to put things togeth- 
er and take them apart, which helps them get 
over some of the obstacles they face." 

It seems only logical that as the writers on 
Space see their characters come to life, they 
would incorporate aspects of the real-life cast 
into their creations. "That's true of many 
series, and I think it's going to be true of this 
one as well," says Chapman. 

"Bits of our personalities were very pre- 
sent in the first episodic script that we 
received after making the pilot. That was so 
funny, because we spent a lot of time speak- 
ing with [series creators] Glen Morgan and 
James Wong while we were on the set in Aus- 
tralia shooting the pilot, so I think they got a 
good sense of our personalities and senses of 

humor. Those have started to become a part 
^\ of our characters, which I think is a 

l good thing." 

Pressed for specifics, Chapman 
i cites a few examples using her own 
\ character. "It seemed that I was 
always concerned with school and 
finishing up, and it was so stressful 
for me to try and juggle the two [act- 
ing and academics]. I love my job, 
but at this point, I would desperate- 

/ly like to finish my master's degree, 
so while I was in Australia, I think 
that anxiety was still present. I 
always seemed to be talking to 
the guys about school and film- 
making, and that's one of the 
things that happened to my 
character. Damphousse has 


been to school, and her father is an engineer, 
just like me. 

"I can get kind of goofy when I'm tired or 
restless, and my character also has a playful 
side that I hope we'll get to see even more of. 
I would describe my character as one who 
seems to pursue her goals with a great deal of 
compassion, and that's definitely part of my 

Although Space: Above and Beyond is 
now shot in Culver City. California, the pilot 
actually lensed in Australia, which was a 
somewhat daunting experience for some of 
the young cast members. "That was a little 
scary, because as beautiful as Australia is, it's 
so far from home, and I think that makes any 
new job tough, especially one like this where 
the hours are so long — it really consumes 
you. It's very hard to have a social life or any- 
thing outside of work. Maybe it was just 
because we were getting started, and this is 
the first series I've done, so maybe things will 
even out a bit after a while. That's what I'm 
hoping. It's not that bad, but it's easier being 
close to family and friends who you can grab 
a chat with on the phone, if not see frequent- 
ly. I had some pretty ridiculous phone bills 
while I was away." 

Comrades in Arms 

On the other hand, being thrown together 
in a high-pressure situation thousands of 
miles from home actually mirrored the char- 
acters' on-screen situation, making them 
partners in adversity, so to speak. 

"I think that had a huge impact on the 
kind of bond we were able to form almost 
immediately. We were all very dependent on 
each other for providing a sense of home and 
security, and it definitely played a part in 
shaping our feeling of being displaced 
recruits in the Marine Corps, of feeling some- 
thing new and having only ourselves to rely on." 

Chapman did have the opportunity to 
meet a few of her fellow cadets before depart- 
ing on their new assignment. "I met Kristen 
Cloke, who plays Shane Vansen. at the audi- 
tion," the actress recalls. "Kristen and I have 
the same agent, so I knew to look for her, and 
we gave each other a quick nervous hug and 
wished each other good luck. I also met Rod- 
ney Rowland — Cooper Hawkes — at the net- 
work audition, but those things are so 
nerve-wracking that we were just a bunch of 
jitters. Other than that, I hadn't met anybody 
before we got to Australia." 

Complicating matters for Chapman was 
her yet-to-be completed graduate work in the 
film production program at USC. The actress 
says continuing education will have to take a 
back seat to saving the universe, at least for 
the time being. "I'm on a leave of absence 
right now. All I have to do is complete a 
screenwriting course, so I'm doing that at 
home, mostly on weekends. I haven't been 
able to get much done during the week. Then, 
I have to do is a thesis film, and I'm finished." 

For Chapman, the character of Vanessa 
Damphousse is the latest in a string of suc- 
cessful film and TV roles that have kept her 
fairly busy for most of her relatively short 
career. Chapman originally majored in Span- 

"She has become the 'fix-it' marine— she knows how to put things together and take 
them apart," says Lanei Chapman of Vanessa Damphousse, her character in Space. 

ish at Dartmouth College, where she also 
wrote her first play, Home Run. which she 
has since produced and directed, starring 
Kim Fields. 

Her feature film credits include White 
Man Can't Jump and Pretty Hattie's Baby. 
while her television work is comprised of 
roles in The Wonder Years. Seinfeld, True 
Colors and China Beach, as well as the mini- 
series The Jacksons: An American Dream 
and the TV movie The Mary Thomas Story. 
Genre fans will no doubt recognize Chapman 
for her appearances as Ensign Rager in Star 
Trek: The Next Generation, where she was 
last seen being rescued from an alien ship by 
Commander Riker (Jonathan Frakes) in 

One might think the experience exploring 
the final frontier would have come in handy 
when Chapman auditioned for the role of 
Marine recruit Damphousse in Space. "It's 
funny, because I auditioned against so many 
of my friends, I wouldn't say I was a shoo-in 
at all. It was just the usual grind of audition- 
ing. I'm not sure how many people there 

were, because when we went in, our audition 
times are 15-minute slots, so I would only see 
five or six girls at one time." 

Damphousse is only one of the recruits 
who would eventually form the 58th 
Squadron. Other pilots include Nathan West 
(Morgan Weisser). Shane Vansen (Cloke), 
Cooper Hawkes (Rowland) and Paul Wang 
(Joel de la Fuente). Their squadron comman- 
der is McQueen (James Morrison), a former 
pilot who has been sidelined by injuries sus- 
tained in battle with the alien invaders. 

Discussing her comrades in arms, Chap- 
man says the various roles have been very 
well cast. "For instance. Joel de la Fuente: 
this guy has a great sense of humor and is 
always cracking jokes. Our characters are 
called 'The Wild Cards,' and his card is the 
Joker. That's so appropriate, and it's an 
important part of that character's personality. 

"That goes for Rodney as well. His ener- 
gies go from one extreme to the other. They 
might be very low at the beginning of the sen- 
tence, and by the end. boom; he's way over 
the top. I love that about him and I love his 

72 ST AKLOG/ February 1996 

personality. He's such a stud, he's a man's 
man, and at the same time, he's this innocent 
kid, who's wondering if everything's going to 
be OK. That's one of the things that's so 
appealing about his character. 

"Morgan is a pro. and I love to watch him 
work. He's wonderful. He's a dry. quiet, 
thinking — I want to say intellectual, but it 
doesn't really come off like that — guy. He's 
very intelligent, but his personality is kind of 
quiet; not shy necessarily, but more obser- 
vant. Even as I say that, we do spend a lot of 
time together, and we all have our silly 
moments. Morgan is a very interesting per- 
son, and seems to know so much about so 
many different things, but at the same time, 
we all get a little silly and rambunctious, so 
there's that side, too." 

Chapman is also delighted to be working 
side-by-side with Cloke. her partner against 
the predominately male-oriented cast. "Oh 
my God, absolutely! We talk about that all 
the time, especially when the boys are really 
into their 'Boy's Club.' and start to gravitate 
towards each other. Being with Kristen was 
particularly helpful when we were away in 
Australia. Here, we have our friends and fam- 
ily to lean on. but while we were there, we 
pretty much only had each other to hang out 
with. I love having Kristen around." 

Survivors at Their Fittest 

As Chapman recalls, the early days of 
filming the Space pilot were long, hot and 
often uncomfortable. Such irritating condi- 
tions may well have added authenticity to the 
final product, but they also formed an 
unbreakable bond between cast members. 
"There was a lot of smoke, it was scary, and it 
was fun all at once," she says of her first day. 
"It was really exciting to watch other people 
work, because I didn't have much pressure in 
terms of having a big scene to do that day, so 
I got a chance to observe and get a feel for it; 
I didn't have to jump right in. I don't remem- 
ber that day being traumatic. 

"What I do remember very clearly is the 
first time we were outside in our flight gear. It 
was so incredibly hot on that first day we 
went and shot on the sand dunes for the Mars 
exterior footage. It had to be 101 degrees out 
there, and we had these outfits on that were 
layer upon layer upon layer... they looked 
cool but they were so hot. We worked a cou- 
ple of days out there, and then Rodney came. 
We had been out there for a day or two, so we 
were getting used to the claustrophobia of the 
helmets, gear, backpacks and everything else. 

"I remember watching Rodney freak out a 
little bit, because this whole sense of being in 
this helmet and trying to remember how to 
act, while feeling like you were going to 
explode because you were so hot and drip- 
ping wet and unable to breathe. It took a lot 
of concentration to do those scenes. The pro- 
ducers promised us that those were going to 
be the toughest three days, and they were. I 
felt so much for Rodney because I had 
already gone through it and gotten used to it 
and forgotten that first rush of, 'Am I going to 
make it?' You're so busy dealing with the gear, 
and I know Rodnev had a lot to do that dav. 

As one of the Marine Corps Space Cavalry pilots in the war against unknown alien 
invaders, Damphousse regularly puts her life on the line flying combat missions. 

"During that period in Australia, we real- 
ly started taking care of each other, because 
we knew that no one could understand how it 
felt unless they had stood there in the Sun, in 
our outfits. We knew that we were the only 
ones who would hold the backpacks for each 
other so our backs could get a little relief. 
Only we knew that after every take, what you 
want more than anything is to get out of the 
helmet. We were really looking out for each 
other, which is a lot like our characters in the 

"Our characters are 
called The Wild Cards.' " 

Where the discomforts of those early days 
are now only memories for some of the cast, 
there's one actor who could end up incorpo- 
rating those feelings into his character. 
Explains Chapman, "There's a moment — 
I've only heard it in a pitch, I haven't seen the 
script yet — where Rodney may very well 
have an opportunity to recall that sense of 
claustrophobia that he felt that day, because it 
might be a character trait that he'll experi- 
ence in a future episode. 

"Glen told me something about that, and 
when I first heard about it, I remembered that 
day of filming, because we all felt for Rod- 
ney. That's part of his charm: he comes on the 
set, bouncing off the walls, all full of energy 
and excited because he's doing the show, and 
then in the next instant, he puts on the helmet 
and becomes this little kid crying, 'Help me.' 
I'm in love with everyone in the cast." 

Putting the actors through their paces for 
the first time was veteran director David Nut- 
ter, who helmed some of the most atmospher- 
ic episodes of The X-Files, and brought the 
same shadowy sensibilities to Space: Above 
and Beyond. 

"I think David Nutter, being who he is, 
brought a very special energy to the set. He's 
so pleasant to have around under all the pres- 
sure, and he really was the father figure for all 
of us. He really helped guide us through the 

Australia shoot and hold things together for 
us; so much so that the first time he wasn't on 
the set, we almost panicked. He also directed 
the first episode, so when we started working 
on the second, we were feeling a little lost." 

Fortunately, there were other top-notch 
directors ready to pick up the slack when 
Nutter returned to Vancouver to work on The 
X-Files. Among them was actor/director 
Charles Martin Smith. "It was wonderful 
working with him for just that reason. We 
quickly saw the difference, that he was very 
much into the scenes, and giving the actor an 
opportunity to come up with different inter- 
pretations of the scene, or different perfor- 
mances. He would push you to get those 
performances, and that was different and 
very exciting." 

Now well into the first season of Space, 
Chapman says the hours are still long and dif- 
ficult, but the close bond between the cast 
makes it all worthwhile. "I think we're very 
lucky, but it seems rare that we would all get 
along so well. I hope that continues, but as it 
is now, I feel pretty close to everyone, and it's 
the kind of familiarity where you can tell 
somebody, 'You're really getting on my 
nerves; just don't talk to me for the rest of the 
day,' and come back the next day and every- 
thing will be OK. 

"Maybe you don't need it put that harshly 
all the time, but you definitely need to be able 
to communicate with your co-stars, so you 
can work together more easily. It's like being 
part of a family." 

Lanei Chapman is due back on the set 
shortly, but there's time for one more com- 
ment about her work on the series. "The thing 
that's nice is that we're all different, and 
we're not going to agree on everything," she 
explains. "We definitely have our differences, 
but the nice thing is that there is a mutual 
admiration between all of us, and a great deal 
of respect for each other's work. I think that 
definitely plays into our being able to com- 
municate through our differences, to get 
along and to work together." ■& 

STARLOG/Februaiy 1996 73 


if k 


kC**T.;. «~i^ ,*: ■ CD 


^»^m:te^ •-.-.-•/ ♦ --.-.5 




After all these years, Roy Thinnes is still 
fighting 77?e Invaders among us. 


In science fiction," says Roy Thinnes, "you 
can always come back." And though as an 
actor, Thinnes has never really been 
away — in fact, he has been quite busy — he 
has indeed come back to the role and the 
series that (somewhat to his surprise) gave 
him fame the world over: he's again playing 
David Vincent in The Invaders, the mini- 
series sequel to his own TV show of the 

In The Invaders, David Vincent was an 
architect who happened to see a flying saucer 
land; he learned that aliens, disguised as 
humans, are among us, here to take over. The 
series followed his adventures in trying to 
reveal this plot to a disbelieving world. The 
Invaders themselves, of course, knew about 
Vincent's efforts, but he kept uncovering one 

74 ST AKLOGI February 1996 

little pocket of alien infestation after anoth- 
er — at least for the two years the Quinn Mar- 
tin-produced show ran. 

But it never faded away. The Invaders has 
been rerun everywhere in the world ever 
since it was first telecast, being especially 
popular in France. In fact, Thinnes has been 
flown over to Paris several times for Invaders 
festivals. "They had a 25th anniversary cele- 
bration, screening four episodes at the Grand 
Rex theater, one of those ornate old movie 
palaces, two episodes in English, two in 
French," says the actor. "They all knew the 
dialogue; it was like The Rocky Horror Pic- 
ture Show." 

Almost 30 years ago, Roy Thinnes began 

his endless quest, warning both friend and 

foe that there were Invaders among us. 

And wherever he goes, people will often 
indicate they recognize him by holding one 
little finger stiff — Invaders on the show try- 
ing to pass themselves off as human beings 
usually had one stiff finger. Thinnes says that 
he has even seen people in cars ahead of his 
hold their hands out the window, a little fin- 
ger stiff, to show in a playful way that they've 
recognized him. 

One of the first questions anyone meeting 
Thinnes asks him is why the Invaders just 
didn't kill David Vincent and get it over with. 
"I knew why they didn't." says the genial 
actor. "There wouldn't be a show if they did. 
Writers ask that silly question instead of sus- 
pending their belief system and just assum- 
ing it doesn't happen:' 

Thinnes has come down to the Union Sta- 
tion location of The Invaders mini-series, 
which stars Scott Bakula, even though he's 
not in the scenes scheduled to be shot. He's 

The actor has been at Vasquez Rocks 
before. He scurried down them alongside 
Suzanne Pleshette back in 1967 for "The 

relaxed, dressed in high-style casual clothes, 
chatting amiably with passers-by, crew mem- 
bers and reporters. He gives the air of a man 
who might have been more tense and serious 
in the past, but who has come to terms with 
his career, and is happy with his life. When 
interviewed, he shows a steely determination 
not to proceed in certain directions at times; 
he's friendly, but he has his clearly-defined 

For example, in discussing Larry Cohen, 
creator of the original series, Thinnes says, "I 
spoke with him when we were making The 
Invaders, and I tried to enlist him in reselling 
the series 10 years ago. He wasn't available 
when I sold it to ABC, so I had [Man from 
U.N.C.L.E. creator] Sam Rolfe write a 
screenplay from my story. ABC committed 
to a three-hour pilot (which would have 
meant the whole prime-time block of broad- 

"When you're doing a filmed TV series, stamina is probably the most important thing,' 
Thinnes notes. 

casting for that night) and six episodes, and 
then Capitol Cities bought ABC, and they 
decided not to honor the contract." 

This unexpected information — that ABC 
had once bought a revival of The Invaders, 
and that Thinnes himself had written the first 
episode's story — is all he reveals. As for 
where he was going with it, Thinnes says, 
"that would have to remain confidential, in 
that there was a screenplay written by Rolfe. 
It doesn't relate to this particular project [the 
mini-series], but there are still possibilities 
for future development." 

The idea to revive the series a decade ago 
came partly from the UFO community, 
"those who are seriously investigating UFOs 
and all aspects regarding encounters," 
Thinnes explains. "They stay in touch, and 
have done so since the very beginning. I had 
a file of stories that are just incredible. I had 
the blessing of Taft Broadcasting, which then 
owned the rights. I went to Jordan Kemer, 
then-president of ABC, and said, 'Pick a 
page from this file.' Taft let me go in, and I 
came out with a sale for this three-hour pilot 
and six episodes. Kerner was a fan of the 
original show, and said, 'You don't have to 
sell me on it; I think it's a great idea.' " 
Unfortunately, however, it's one that didn't 
make it to the TV screen. 

But Roy Thinnes a writer too? Yes, in fact. 
"I've written a few screenplays, a couple of 
one-acts; not much has happened. The con- 
cept for The Psychiatrist, which was a short- 
lived series I did for Universal [as part of 
NBC's Four-In-One], was based on a three- 
hour treatment that I had done." He hopes 
that if the new mini-series leads to a regular 

show, there will be room for David Vincent — 
and, one suspects, he also hopes there will be 
room for Roy Thinnes, writer. 

Early Invasion 

Aside from Cohen, the best-known 
behind-the-scenes name on The Invaders was 
that of very busy producer Quinn Martin. "I 
have nothing but praise for Quinn Martin," 
Thinnes says firmly. "He was not only very 
talented and story-oriented, but all the people 
he hired as producers were superb writers. 
Every script that came in was finished: rarely 
did you see a color change, which means 
page changes. Those were polished scripts 
when we filmed those episodes, and they 
were good stories. 

"Beyond that, he was a gentleman and 
generous. He paid everyone who worked for 
him very well, from the crew members all the 
way through the casts. He just had a superb 
operation. His casting director was especial- 
ly fine; he brought in stars like Gene Hack- 
man, Suzanne Pleshette, Ed Begley, James 

"Another thing Quinn Martin was well 
known for was that the networks provided 
him with more finances than anyone else, 
because his shows had great production val- 
ues — and that was achieved through going on 
location four or five days out of seven. Those 
were 15-, 16-hour days. And we were shoot- 
ing back to back. We would come in on a 

BILL WARREN, veteran STARLOG corre- 
spondent, is the author of 'Keep Watching the 
Skies! (McFarland). He explored The 
Invaders mini-series in issue #222. 

STARLOG/Februarv 1996 75 

Making the classic 
series transformed 
Thinnes from 
skeptic to believer. 
He even sighted a 
UFO himself. 

Tuesday morning and finish a show, and start 
a new episode Tuesday afternoon, all new 
faces and a new script. So, there wasn't much 
time to react to story content, although Quinn 
used to invite me to all the writers' confer- 

"Quinn Martin had a prologue, four acts 
and an epilogue, so they were well-structured 
stories. It was one short story per episode; 
they were people stories — there weren't 
many special FX or special makeup FX, or 
anything like that. It was science fiction of 
the highest order, I believe, and that's stories 
about humans and their dilemma." 

It has been a long time since The 
Invaders, and unlike some fans of the show, 

On his Journey to the Far Side of the Sun, 
Ian Hendry and Thinnes discovered a 
mirror-image Earth hidden from our eyes. 

its star has not memorized every detail of 
every episode. However, he does say, "the 
episode with Suzanne Pleshette ["The Muta- 
tion"] I thought was really right on. It was a 
love story with an alien, played by Suzanne. 
The aliens considered her to be deficient 
because she had human emotions, and she 
actually fell in love with David Vincent, and 
vice versa. She was my favorite; I loved 
working with her." 

"in science fiction, 

you can always come 


Thinnes doesn't remember very many 
amusing anecdotes about the production of 
The Invaders; he was simply working too 
hard. But he does recall something about 
lensing the mini-series that amused him. 
"The Mutation" had been shot out at the 
often-used location of Vasquez Rocks. "Two 
weeks ago, I was standing at the same place 
at Vasquez Rocks, a place where the stone 
formations look like someone threw a frisbee 
from Mars and it stuck here in the desert in 
Southern California. I was watching them do 
a setup in the dark, and remembering the 

76 STARLOGI February 1996 

Quinn Martins Invaders boasted such talented guest stars as Anne Francis (pictured), Ed Asner, William Windom and Gene Hackman. 

show Suzanne and I had done, where we had 
run down that whole long formation, the two 
of us. It was kind of perilous, but fun; once 
you got started, you couldn't stop running 
down the rock face. And as I was looking at 
the formation, reminiscing, a young assistant 
director came up to me and said, 'Really 
somethhr, isn't it? Ever been out here 
before?' I said, 'Uh. yeah. I've been here. A 
couple of times." " 

Past invaders 

In the second season of The Invaders, 
Kent Smith joined the cast as Edgar Scoville, 
the millionaire head of an electronics firm 
who believes David Vincent, and wants to 
help him in exposing the Invaders. "I had 
worked with Kent a few times before he 
joined the show," Thinnes recalls. "A delight- 
ful man. In my eyes, he was a big movie star; 
I remember as a kid seeing Kent Smith in a 
lot of movies. He was easy-going, good- 
humored and very talented." 

Thinnes approved of Scoville 's addition 
to the show. "He was a wealthy industrialist 
who could finance movements that would 
have the clout to make the subject wider 
known, publicized. I was eager to see how 
the Edgar Scoville character would develop, 
but before it did, the show was cancelled." 

Had the Dark Shadows revival continued, 
Thinnes would have reveled in the 
exploits of Reverend Trask, witchf inder. 

The other major change was the addition 
of a group of UFO believers, though they 
weren't financed by Scoville. "Vincent had a 
group of followers who had similar experi- 
ences," Thinnes explains. "Well into the sec- 

ond season, they had organized this, but it 
just didn't work out for story, so in one 
episode, they were all murdered by the 
aliens. The one survivor was David Vincent. 
The other changes that season were subtle. 
You might suddenly see a ray gun, or a prop 
the aliens used to hypnotize humans. Shortly 
thereafter, you would find out Aurora plastics 
was manufacturing them for merchandising. 
A few of these corny things started creeping 
in, but that's all part of the business." 

An element that irked not just Thinnes, 
but a co-star, and, if the truth be told, many 
viewers, was one in which a black activist is 
revealed as an Invader. No, he doesn't have 
the stiff little finger — the way he's spotted is 
that the palm of his hand, unlike those of real 
African-Americans, is the same color as the 
back of his hand. "Roscoe Lee Browne, a 
dear man, and a co-star in the episode ["The 
Vise"], was upset about it. He was a fan of 
the show, and said, 'Here I come, and I find 
that even in space, there are racial problems.' 
And he showed me his palm. They had paint- 
ed his palms black. 'I don't have a stiff little 
finger; I have a black palm.' I found it 
strange; I couldn't get an answer as to why 
they had to change it, why there should be a 
difference. It's very self-conscious, and that's 
what Roscoe was reacting to, and rightly so." 

STARLOG/February 1996 77 

Overall, the ratings for The Invaders 
remained respectable through the second 
season — not great, but certainly not low 
enough that the show would ordinarily have 
been in danger of cancellation. "We were 
planning to go on," Thinnes says. "We were 
on hiatus, but there were writers hired; there 
were eight episodes in the works, and then 
one day I read in Variety that the show and 
several other things Quinn had on the air 
were cancelled. I think something political 

The Invaders was two years of hard work 
for Roy Thinnes. At the time he was shooting 
the series, he didn't have any sense of it 
stretching him as an actor. "It was afterward 
that I realized I had learned a great deal about 
craft. When you're doing a filmed television 
series, stamina is probably the most impor- 
tant thing. Yes, bring your artistry with you, 
but take care of yourself physically. It's real- 
ly an exhausting job. I'm sure you've heard 
other actors say this, but it's not a form of 
complaint; it's a very real problem. You'll 
finish at 4 a.m., then you'll have to be back at 

been a World War II bomber flyer, and had 
seen some UFOs during the war. "He educat- 
ed me well in the field of UFO investigation," 
Thinnes says. "There were military pilots, 
commercial pilots, all of whom had these 
experiences. He didn't take the subject light- 
ly. Occasionally, a director would come in 
with the attitude that the show was a comic 
strip, and Andy would put a stop to it imme- 
diately. In a very gentlemanly fashion, he 
would explain to them that it was a very seri- 
ous subject, and if we made light of it, it was 
going to show on film. So there was a pretty 
serious attitude; we had good times and 
laughs and all that, but we didn't ever criti- 
cize the material." 

In Fox's recent mini-series, Thinnes once 
again warned everyone about alien 
dangers. Scott Bakula already knew all 
about them. 

8 a.m. cranking it out again. Along with 
strenuous stuntwork, running up mountain- 
sides, etc., it can be very exhausting. We had 
a kind of outer space symptom: along about 
Thursday, you couldn't remember what day 
it was. You would see a sunset and a sunrise 
before you would get a chance to sleep." 

In addition to honing Thinnes' abilities as 
a television actor, The Invaders also changed 
him from a disbeliever in the possibility of 
UFOs to one who has kept his mind open on 
the subject even to this day. And part of that 
was due to his own sighting of an unidenti- 
fied flying object. "It was about a day before 
the show went on the air. I was driving in the 
San Fernando Valley with someone else; we 
saw it go down one side, disappear behind 
the horizon, then rise up on the other side, 
multi-colored, and then soar off into space. I 
said, T don't know if I have the guts to call 
this in. It's going to sound self-serving.' But 
within minutes, there were radio reports, TV 
reports — everybody in the area spotted it, so 
I didn't have to report." 

Furthermore, the regular Invaders cine- 
matographer was Andrew Mclntyre, who had 

Private invasions 

Thinnes grew up in Chicago. Many actors 

can cite a particular opportunity as their big 

break. Thinnes counts a break as his big 

break: breaking his ankle in spring practice 

for high school football. Since this put him 

on the sidelines in his junior year, a friend 

talked him into going down to the Board of 

Education and auditioning for their radio 

station. He worked there for a couple of 

years, doing everything from engineering to 

DJ shows, to the news, to dramatizing Lewis 

and Clark's expeditions, gaining acting 

experience as he did. One show in particular, 

S Teens Unlimited, led to agents suggesting 

Z that he try acting for a living. "So I started 

? doing industrial films, and did my first real 

| dramatic TV show with Frank Lovejoy. 

When I got out of the Army, I went to New 

York, then came to California, started 

working in episodic television, did off- 

_ g> Broadway shows. I loved it." 

Is His first TV series was General Hos- 

Pf pital, where he was a regular for three- 

' a and-a-half years. After that, he went on to 

The Long, Hot Summer, where he had the 

role of Ben Quick, which Paul Newman had 

played in the film. He was announced as the 

"new Paul Newman." Thinnes is amused by 

that label. "There was a tendency at that time 

chiatry, and they asked that we not talk too 
much about it. I suppose there was pressure 
from advertisers about them being heavy 

Thinnes kept busy, primarily on televi- 
sion, occasionally in theatrical films. He was 
a regular on Falcon Crest for a year, and then 
did the well-received mini-series of From 
Here to Eternity. When that was spun off to a 
series, Thinnes went along as Captain, then 
Major, Dana Holmes. Something similar to 
the restrictions on The Psychiatrist affected 
this series, too. "They were going to do the 
war in the South Pacific, but along about the 
second or third episode, we got memos say- 
ing we couldn't show Japanese soldiers, 
because we didn't want to offend the Japan- 
ese community. So, it became this soapy 
thing about love affairs that military guys had 
in the Hawaiian Islands. It was just an impro- 
visation on a theme that had already been 

"The invaders \N3S 

science fiction of the 

highest order." 

to say that everybody was a young so-and-so. 
The question is, how did Paul Newman feel 
about it?" Thinnes was sharp enough to real- 
ize that the network wasn't solidly behind 
The Long, Hot Summer. "Color TV sets were 
here to stay, and they were filming this thing 
on exteriors on the old Tara set at MGM, with 
huge countrysides and horses gamboling in 
the fields — and they're filming in black and 

His next series was The Invaders. After 
that came his well-intentioned but short-lived 
The Psychiatrist (1971). "The fashion at that 
time was to do relevant television," Thinnes 
says. "However, we still had a war raging, 
but they asked that we didn't talk about the 
war. Substance abuse was a major dilemma, 
especially in the world of institutional psy- 

A decade ago, Thinnes says he almost got 
The Invaders revived, but a change of 
executives— perhaps alien dupes?— killed 
the idea. 

He starred in the made-in-England the- 
atrical film Journey to the Far Side of the Sun 
(1969). one of the few live-action projects of 
puppet maestro Gerry Anderson. Thinnes 
played astronaut Glenn Ross, who crashlands 
on Earth — only to discover it's some kind of 
anti-Earth, an exact but mirror-image dupli- 
cate on the opposite side of the Sun from our 
regular planet. 

"It took us eight-and-a-half months to 
film it, four months in England, two months 
in Portugal, back to England for another cou- 
ple. It was a long, tedious production. I 
thought it was a great story, but what I think 
of the picture hardly matters, because it has 
been very successful since. It was the last 
production of Universale British wing; they 
had a huge operation in England, but for 

78 STARLOGIFebruaiy 1996 

some reason, it was falling apart. I think the 
picture got short shrift because of the Euro- 
pean operation dissolving, and key personnel 
leaving the company." 

He did several TV movies with 
horror/fantasy themes. What he remembers 
best about Black Noon (1971), about witch- 
craft in the southwestern town of Males 
(spell it backwards), was that it was another 
show on which he had a painful encounter 
with fire. "I was burned on The Invaders, and 
got burned on this one. There was a scene 
where I was hung by my right ankle with my 
hands tied behind my back. Having been 
educated by stuntmen to check FX before 
you get into them. I naturally walked 
through, asked to see the flames, etc. They 
showed me. everything worked fine; special 
effects men are always very cooperative that 
way. But a gas pocket had built up under the 
church altar, and a big fireball came up the 

As a supernatural investigator, Thinnes 
left The Norliss Tapes behind. One fan 
thought they were real. 

minute they ignited the flame. I still have a 
couple of scars." 

Thinnes also appeared in Horror at 
37,000 Feet (1973) with aseUar-for-TV cast, 
including Chuck Connors. Baddy Ebsen and 
William Shatner. The sam; : played 

the Devil himself in Satan: olfor Girls. 

About this TV movie. Thiarjes grins and 
shakes his head. "Boy. you remember all the 
good ones, don't you? There should be a 
statute of limitations on certam shows." 

He did like making Dan Curtis" The 
Norliss Tapes (also 1973). howewr ft 
written by William F. Nolan, and co-starred 
Angie Dickinson, Claude Akin . Michele 
Carey and Hurd Hatfield. "Thai was good." 
he says. "I meet a lot of people « -.- ~ em- 
ber that show. There was one man who was 

very persistent in trying to reach me; he 
called agents, unions, the whole thing, leav- 
ing messages — he wanted to buy some of 
those Norliss Tapes. He thought they were 
real." The show hinged on an investigator. 
Norliss (Thinnes). and the tapes he has left 
behind about his investigations into the 
supernatural. It was a pilot for a series, but it 
didn't sell. 

However, it did sell Thinnes to Dan Curtis, 
so when the producer revived Dark Shadows 
as a primetime TV series, he invited Thinnes 
aboard. "That was great," says Thinnes with 
pride. The first character he played on the 
show, he feels, was boring. "But one day at 
lunch Dan said, 'You're going to play Rev- 
erend Trask.' And not being familiar with the 
original series, I didn't know who he was 
talking about. Dan said, 'Wait.' 

"Trask was the witch-hunting attorney/ 
preacher/exorcist back in the past. His intro- 
ductory scene was him exorcising a nubile 

young thing on a stone slab in the basement 
of a cathedral. I got to put him together phys- 
ically, and had a great time. That's why I was 
hoping the show was going to go on, because 
Trask would have gone on." 

But Dark Shadows was cancelled. "An 
enormous amount of money was put into that 
production," Thinnes points out. "I suppose it 
was to be amortized over two or three sea- 
sons, but it ended up being an expensive pro- 
ject that didn't find its legs. They had a lousy 
time slot, and it wasn't treated well. I have no 
idea why that happens. They put a great deal 
of planning and effort and expense into 
something and don't let it have a life." 

Thinnes, however, has had a great life; 
he's clearly a happy man, and has lived by his 
own advice for young actors: "Develop a 
thick skin, study and do as much theater as 
you can. And if you're lucky enough to get a 
soap opera, stay there for a while, that's great 
training." . -4s 

STARLOG/Februart 1996 79 


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Art: Mike Fisher 

It has been a lona time since I wore the giant yellow canary suit. 
Still. I remember it like it was 1977. You see, I was co-wr.tmg co- 
producina and directing a live radio show mounted on a college 
theater stage. Prior to this event, we had staged all our non-live 
(always taped), alleaedly humorous radio productions m the safe 
confines of a small recording studio. No lines to memorize no cos- 
tumes to don. Our actors would just stand (or sit) there, reading their 
lines from a script. We would tape them, add sound FX and music, 
edit the production and air it days (or weeks) later. 

But this would be different and a bit dangerous. This show- 
would be broadcast on the radio as we were doing it on the college 
theater's staae. And a real audience would sit out there watching in 
the wonderful dark. This was now theater (pronounced thee-ate- 
uh") and it just wouldn't do for our actors to merely stand at mikes, 
scripts in hand. So. we added some elementary props— an inner 
tube a blender and the banana cream pies— and off we went to 
perform such comedic sketches as "The Bagel Doctor. Charlie 
Manson. Ail-American Boy and that well-regarded soap opera, / 
Married a Republican. . 

The canary sketch itself was rather lame-written by me merely 
as an excuse to use this fabulous prop costume I had rented at great 
cost (OK. it was $15). Obviously all frightened by poultry as small 
children, no one else was willing to wear the bright canary-yellow 
outfit, much less the claw-like fowl feet. So. I actually dressed up 
like a canary— there are pictures to prove this; never fear, they 
won't be published in my lifetime-and sauntered on stage to con- 
front an unsuspecting civilian (Harry Mainzer) waiting for a bus. 

It was a cross between Eugene O'Neill and Howdy Doody. This 
sketch "Bus Stop" (no relation to the William Inge play), did echo 
Edward Albee's Zoo Story. In that famed play, a mild-mannered 
man (played. I believe, in the first production by William Daniels) 
is confronted, irritated and provoked to violence by a maniac. Sort 
of the perfect role, either one, for a magazine editor. 

Won't criminals see WHADDAYQU THINK?!? 

you at night with all j wanna J 

•mrM geth|tby / 

tape on? 

a car?! 



Notice that I've 
mentioned three play 
wrights in a single 
paragraph — I'm sure 
that'll get me extra 
credit on a doctoral 
thesis. And if I could 
work in Henrik Ibsen 
or Neil Simon, oh boy. 
I would be cruising. 

This sketch was the 
kind of thing only an 
English major could 
love. It wasn't helped 

any by the aiant yellow canary head I wore which cut visibility by 
more than 100 percent. Blind as a bird, I couldn't read from the 
script I had to— horrors!— memorize my lines. And did I mention 
that after the initial canary sight gag (big laugh), the sketch was not 
funny at all? Maybe that's why they didn't call it comedy. 

You know, if there was a point to this anecdote, I ve long tor- 
gotten it But that's what anecdotes are often about: a little set-rev- 
elation with no bia payoff, ultimately signifying nothing. Still our 
cast was like one big family. And I would happy to be part of the 
sequel thou ah it depends on where my character goes. 

Havin° spent 545 words, for no apparent reason, discussing 
canaries. I'm pleased to go on to happier things. (Not that canaries 
aren't happv little birds, even if they are trapped without sufficient 
room to fly in those big. gold bird cages, subjected to a non-stop 
diet of canary food and always having to be alert to the constant 
menace of disreputable putty tats and canary stress syndrome.) And 
perhaps some of you thought I couldn't play a maniac who irritates 
and provokes folks to violence? 

Anyhow I'm deliahted to note three pieces of good, non-canary 
news- Prolific contributor Ian Spelling and his lovely wife Linda 
have added a new assistant to their interview transcribing start: a 
vouno son. Max Spelling, born September 21. No doubt about it. 
Linda's a saint. And by the way, for those of you who are wonder- 
in° Ian is not related to legendary producer Aaron Spelling, _ 
although he did indeed spend part of an interview with Aaron s 
actress" dauahter. Tori, discussing possible relativity. 

Longtime cartoonist Kev Brockschmidt and his lovely wife 
Tami welcomed their first child, Sarah Joy, on October 17 in Japan. 
They're over there as missionaries, teaching English. Tami s cer- 
tainly a saint, because as Kev writes, "The labor was a rather gru- 
ellina 3? hours. But Sarah Joy was born healthy with no 
complications, a tiny little baby at six and a quarter pounds. She s 
so small she aets lost in the smallest clothes we have. I never imag- 
ined that a little creature that only sleeps, eats and soils her diapers 
could be so much work." 

Meanwhile. Lynne Stephens wed Ken Larson on October 14. 
She's a veteran STARLOG writer and a Discovery Networks mar- 
keting executive. He's in maritime insurance. They were married in 
a Victorian weddina ceremony which, quite elementarily, included 
a cameo appearance by Sherlock Holmes. As should be obvious. 
Ken's a saint. Then. Lynne reports, they vacationed at D.sneyworld 
in a desperate, yet ultimately futile attempt to eat in all of the 
resort's major restaurants in only 10 days. 
Our heartfelt conarats to all three couples. 

-^)avid McDonnelllMan in Canary Suit (November 1995) 

, CTA m nr prfsfNTS #1- EERIE TV collects most of STARLOG's articles on The 

Sharon Swrence while writer/producer ^J^«£^g££^ Toontown legend in a lengthy inter- 
COMICS SCENE #54 showcases at long as^^ 

EEL* Bruce Greenwood. Rodney (Space) ^^^~^^ aiant . sue double -,ssue hosted by the 
FANGORIA #l 5 q imarfc £ Ijjg*— » £ i^£?£S2^5> profiles the loveliest Trill in this uni- 
SE ?erF-SdS™RLof#Si at newsstands and magazine outlets February 6. 

82 STARLOG/Fefc/wy 1996 

The Sound Of Science Fiction 

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